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; O

AN ANALYSIS OF MUSICAL TIME IN SELECTED WORKS


BY GEORGE CRUMB

A t h e s i s su b m itte d to the G ra d u ate F a c u lty


o f McGill U n iv e r s ity
in p a r t i a l f u l f i l l m e n t o f t h e re q u ire m e n ts
f o r th e d e g re e o f M aster o f A rts

by
JOHN MacKAY
't
T h esis s u p e r v i s o r :
F a c u lty o f Mubic
M cGill U n iv e r s ity
M o n tre al, Quebec

P aul V. P e d e rsen
f
>
August 1979

'{C) John MacKay A ugust 1979

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ii

ACKNOWLEDGEMENT

The a u th o r g r a t e f u l l y acknow ledges th e c o -o p e ra tio n


o f C .F . P e te r s C o rp o ra tio n and B elw in M ills P u b lis h in g -.
C o rp o ratio n f o r t h e i r p e rm iss io n to rep ro d u ce th e v a rio u s
e x c e rp ts r e f e r r e d t o in t h i s s tu d y .

A s p e c i a l n o te o f

thanks i s owed to George Crumb f o r h i s p e rs o n a l commun


i c a t i o n o f f e r i n g b o th th e encouragem ent o f h is i n t e r e s t
i n t h i s t h e s i s a s w e ll a s v a lu a b le a d v ic e i n th e s e le c tio n
o f c o m p o sitio n s f o r d e t a i l e d a n a l y s i s . .

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iii

ABSTRACT

The ap p ro ach ta k e n in t h i s stu d y of m u sic a l tim e

i s based on t h e d i f f e r e n c e s betw een v a r io u s contem porary


c o n c e p tio n s o f m u sica l form and th e d i s t i n c t i o n made in*
c u r r e n t t h e o r e t i c a l w r itin g s between o b j e c ti v e and
s u b je c tiv e m u sic a l e x p e rie n c e .

A d is c u s s io n o f th e

b a s i c elem en ts o f George Crum b's m u sic a l lan g u ag e e x p lo re s


h i s i n t e g r a t i o n o f to n a l and tim b ra l m a t e r i a l s and d is c u s s e s
a number o f im p o rta n t in flu e n c e s on h i s m usic from both
f

'

t r a d i t i o n a l and a v a n t" g a r d e - s ty le s .

As found i n th e a n a ly s is

o f s e le c te d w orks ("No piensam en l a l l u v i a . . . " , M adrigals


(

Bk. I , Echoes o f Time and th e R iv e r, Dream S equence/ lu x


''
>
A e te m a , and M usic f o r a summer E vening) much o,f th e unique
e f f e c t o f Crum b's m usic c a n .b e u n d e rsto o d i n term s o f h is
c o n tr o l o f t h e c l a r i t y o f form al p a t t e r n i n g and h i s s t r u c t u r i n g
o f long range rh y th m ic developm ent. ' The c o n c lu d in g d is c u s s io n
compares and c o n t r a s t s Crum b's m usic w ith t h a t o f two o th e r
contem porary American com posers.

"r'

/'

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ABREGE

f
t

C e tte tu d e de temps m u sical p re n d comme p o in t


d e p a r t prem idrem ent, l a d if f e r e n c e c o n s id e r a b le qui e x is te
r

e n tr e le s d iv e r sea' c o n c e p tio n s co n tem p o rain es de l a forme


\
*
m u sic a le , e t en deuxieme tem ps, la d i s t i n c t i o n e n tr e le s
^
I
*
e x p e rie n c e s s u b j e c t i v e s e t o b je c tiv e s de j:a musique q u i
e s t observS e gener,elem ent chez le s t h e o r i c l e n s du vingtifcm e ,
s ife c le .

Un ap erg u des 6l 6m$nts fondaroentavix de la langue

m u sic a le de George Crumb p o r te su r 1 ' i n t e g r a t i o n de d iv e r s


f

m ateria u x de t o n a l i t e e t de tim b re ejt m et an r e l i e f un


nofnbre d 'i n f l u e n c e s s u r sa musique <qui v ie n n e n t des s t y l e s
{

e t t r a d i t i o n e l s e t a v a n t-g a rd e s . .Comme i l e s t dem ontre dans


le s a n a ly s e s d e s o u e v re s c h a r a c t e r i s t i q u e s

("Mo piensam en

l a l l u v i a . . . " , M ad rig als Bk. 1, Echoes o f Time and th e


A

r%J

- K

R iv e r, Dream*Sequence, Lux A e te rn a , e t M usic f o r a Summer


y

E vening) uneNgrande p a r t i e d4 l ' e f f e t e s t h e t iq u e de l a m usique

1
i

de George Crumb p e u t s 'e x p l i q u e r p a r s a mani&re de c o n tr o l e r


-

l a c l a r i t e du d e s s e in forme 1 e t p a r s a faco n de s t r u c t u r e r 1*
-
'

su c c e ss io n d e s lo n g u es d u re e s . En te m n in a n t, l a m usique

de George Crumb e s t m^se eh p a ra ll& le av ec c e l l e de deux


^

a u tr e s c o m p o siteu rs A raericains a c t u e l s .

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e
TABLE OF CONTENTS

Page
ACKNOWLEDGEMENT

........................................

ABSTRACT ...........................................
ABREGE

ii J
iii

................................................... .............

iv

TABLE OF CONTENTS ............................

LIST OF EXAMPLES .............................

..vi

LIST OF TABLES ....................................................

CHAPTER I :

v ii

I n tr o d u c tio n and P re lim in a ry


C o n s id e ra tio n s in th e A n a ly s is
o f M usical Time

...................

I n tr o d u c tio n . . . .

P re lim in a ry C o n sid e ra /tio n s


in th e A n a ly sis o f M u sic a l
Time .........................................

CHAPTER I I : Crum b's M usical Language . .

14

CHAPTER I I I : A n a ly s is o f S e le c te d Wo^ks,

63

CHAPTER IV: Summary and P e r s p e c tiv e . . . .

121

BIBLIOGRAPHY...........................................................

137

ISCOGRAPHY............................................................

140

LIST OF SCORES ............................................

141

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LIST OF EXAMPLES'"
f
EXAMPLE I :

Page

"No p ie n sa n en l a l l u v i a , y se han
dormido.* (They do n o t th in k o f th e
r a i n , and th e y 'v e f a l l e n a s l e e p ) . .

33

EXAMPLE I I :

C lo sin g Episode o f 'F ro ze n T im e '..

77

EXAMPLE I I I :

F lu te C ir c le M usic'and C lo sin g
E pisode o f 'Remembrance o f <Tim e'..

78

The C l a r i n e t and F lu te P ro c e s s
io n a l o f Remembrance o f T im e '

83

Opening Echo Complex from 'L a s t


Echoes o f Time* ...................................... v

86

EXAMPLE IV:

EXAMPLE V:

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v ii

LIST OF TABLES
Page
TABLE 1:

Formal O u tlin e o f'C a n c io n


de J i n e t e ' ........................................

22

* TABLE I I : O u tlin e o f P r i n c ip a l P assag es


of ' E choes o f Time and th e
R iv e r1

, TABLE I I I :

; ......................

69

Lux A e te rn a - Long Range


P a t te r n in g o f P h ra sin g and

D u ra tio n ....................................

105

TABLE IV: S t r u c t u r a l O u tlin e o f Music


i

fo r a Summer Evening ..............

Ill

TABLE V:

Schem atic Diagram o f th e


D u ra tio n a l P a tte r n in g in th e
I n tr o d u c tio n to 'M usic fo r a
S ta rry N ig h t' .............................

111}.

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CHAPTER I :
j

INTRODUCTION AND PRELIMINARY CONSIDERATIONS


IN THE ANALYSIS OF MUS'lCAL TIME

INTRODUCTION
In d is c u s s in g r e c e n t developm ents i n co n tem p o rary a r t
m usic, many t h e o r i s t s and com posers have fo c u s s e d a t t e n t i o n
on th e in f lu e n c e o f Nnew and changing c o n c e p tio n s o f m u sic a l
tim e .

The u n p re c e d e n te d volume**f>f w r i t i n g on t h i s s u b j e c t

o v e r th e l a s t tw e n ty f i v e o r t h i r t y y e a r s i s i n d i c a t i v e
o f both th e c o n s id e r a b le p re o c c u p a tio n w ith m u s ic a l tim e
d e m o n stra te d by many com posers and th e g e n e r a l s i g n i f ic a n c e
o f t h i s p e r s p e c t iv e in t h e u n d e rs ta n d in g o f con tem p o rary

*-

m usic.

A number o f t h e o r i s t s (G is& le B r e l e t , Suzanne K.


*
'
N
L anger, L eonard M eyer, Eugene Narmour, and Jo n a th o n Kramer
to name a few) i n ^stu d y in g m usic i n te rm s o f form and
te m p o ral e x p e rie n c e h ave o f f e r e d im p o rta n t i n s i g h t s ins t y l i s t i c and e s t h e t i c a n a l y s i s .

S i m i la r ly , com posers, i n

a d a p tin g d i f f e r e n t c o n c e p tio n s and fo rm al tr e a tm e n ts o f m u sica l


tim e , have a r r i v e d a t new and i n t e r e s t i n g e x p e rie n c e s f o r
/

contem porary a u d ie n c e s .

The^music o f George Crumb, f o r a num ber o f re a s o n s - i,ts


uni% ie e s t h e t i c e f f e c t , i t s n o ta b le p u b lic s u c c e s s and a l s o
th e r e l a t i v e l y ^ l i t t l e t h e o r e t i c a l c o n s id e r a tio n i t has
re c e iv e d to t h i s p o i n t , p ro v id e s a v ery f i t t i n g s u b j e c t f o r

o
'm
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_(_J

H
*

an a n a ly s is o f m u sic a l tim e .
stu d y

The p r i n c i p a l o b j e c t o f t h i s

w i l l t h e r e f o r e be t o p r e s e n t a g e h e r a l d is c u s s io n

o f Crum b's s t y l e and to lo o k in d e t a i l a t a few works i n


whitih c e r t a i n c o n c e p tio n s and tre a tm e n ts o f m u sic a l tim e
*
*r
' w ere o f ^ a r t i c u l a r c o n c e rn to th e com poser.

As a background f o r t h i s s tu d y , t& is i n tr o d u c to r y c h a p te r
0

w i l l be g iv en t o a rev ie w o f c e r t a i n fu n d am en tal c o n c e p ts
c o n c e rn in g m usigal e x p e r ie n c e .

These w i l l be d is c u s s e d i n

r e l a t i o n to t h e b a s i c ele m e n ts o f form al a n a l y s i s as an
ap p ro a ch to t h e d e s c r i p t i o n o f r e c e n t co n tem p o rary m usic.
* The second c h a p te r w i l l c o n s i s t o f an a c c o u n t o f Crum b's
* m u sic a l lan g u ag e and some o f 't h e m ajo r in f lu e n c e s on h i s
(

s t y l e , w ith an em phasis o n th o s e f e a t u r e s w hich r e f l e c t h is


g e n e r a l c o n c e p tio n

and tr e a tm e n t o f m u sic a l tim e .

T his

i s fo llo w ed i n c h a p te r th r e e by a r e l a t i v e l y d e t a i l e d
a n a l y s i s o f Crum b's Echoes o f Time and th e R iv e r, and more
g e n e r a l o b s e rv a tio n s on some o th e r works recommended by th e
/

com poser w hich i l l u s t r a t e i n t e r e s t i n g f e a t u r e s o f fo rm al


o r g a n iz a tio n and te m p o ral e x p e rie n c e i n h i s m u sic .

In th e

'

f i n a l c h a p te r , a g e n e ra l summary and c o n c lu s io n s w i l l be
I

made r e g a rd in g C rum b's s t y l e and th e s e w i l l be r e l a t e d to

1
f

r e c e n t developm ents i n t h e m usic o f some o t h e r contem porary

be g iv en h e re to t h e r o l e w hich th e a n a l y s i s o f m u sic a l

A m erican com posers.

In a d d i t i o n , some c o n s id e r a tio n w i l l

^tdm e can p la y i n t h e t h e o r e t i c a l d e s c r i p t i o n o f m u sic.

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PRELIMINARY CONSIDERATIONS IN THE ANALYSIS OF MUSICAL TIME


aIn th e stu d y o f m u sic a ^ tim e,- i t is p o ssib le-, to p o s tu la te
two v e ry g e n e ra l and a p p a re n tly fundam ental a s p e c ts o f
*
i,
m usical aw areness - th e o b je c tiv e , u n q u e stio n in g accep tan ce
o f e v e n ts as th ey o c c u r in tim e , and th e s u b je c tiv e a n ti c i p a tio n o f f u tu r e e v e n ts . Ah, im p o rtan t fo rm u la tio n o f t h i s
d u a lity o f m u sical

e x p e rie n c e has been e x p re sse d by Ig o r

S tra v in sk y in h i s P o e tic s o f Music a n d 'is la r g e ly based


on th e p h ilo so p h y of P ie r r e S ouv tch in sk y .

'

"Mr. S ouvtchinsky th u s p re s e n ts us w ith


two k in d s o f m usic: one which e v o lv e s
p a r a l l e l to th e p ro c e s s o f o n to lo g ic a l
tim e, em bracing and p e n e tr a tin g i t , in d u cin g
in th e mind o f th e l i s t e n e r a f e e l in g o f
e u p h o ria and, so. t o sp e ak , o f dynamic calm.
The second k in d ru n s ahead o f , o r c o u n te r
to t h i s p ro c e ss . I t i s n o t .s e lf - c o n ta i n e d
in each momentary .to n al u n i t. I t d is lo c a te s
the c e n te rs o f a t t r a c t i o n and g r a v ity and
s e ts i t s e l f up i n th e u n s ta b le , and th is
f a c t makes i t p a r t i c u l a r l y a d a p ta b le to
th e t r a n s l a t i o n o f th e com poser's em otive
im p u lse s. A ll m usic i n which th e w i l l to
e x p re ss io n is .d o m in a n t belongs to th e
second ty p e ."

A f u r t h e r e la b o ra tio n o f t h i s view o f m u sica l tim e has been 1


made by George Rochberg in h is a r tic le " T h e New Iniage o f
-

'

o '

Music" where he d is c u s s e s th e d if f e r e n c e in th e e s t h e t i c
n a tu re o f what he term s th e 'te m p o ra l im age1 o f m usic
(m usical e x p erien c e b ased upon th e s u b je c tiv e a n tic ip a tio n ,
o f e v e n ts) and th e 's p a t i a i im age o f m usic (m usical e x p erien ce
> b ased la r g e ly upon a more p a s s iv e , o b je c tiv e a ccep tan ce o f ev en ts)
~
1.
I g o r S tra v in s k y , P oeticsy o f'M u sic (Cambridge M ass.,
H arvard U n iv e rs ity P re s s , 1947) p . 31.
-

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if

"Music dom inated by th e te m p o ra l image


and m u sic 'd o m in a te d by th e s p a t i a l image r e
f l e c t c o m p le te ly o p p o s ite a t t i t u d e s and
s ta n c e s tow ard r e a l i t y . . .t h e form er te n d s
to w ard th e s u b j e c t i v e u t te r a n c e o f th e i n
d iv id u a l w h ile th e l a t t e r le a n s to w ard an
o b j e c ti v e p r o j e c t i o n in w hich th e c o m p o s e r's
e n e r g ie s a re fo c u s s e d beyond h im s e lf and
th l y r i c a l flo w o f . h i s in n e r p e r s o n a l
s t a t e s . S u b je c tiv e m a n ... view s e x is te n c e
a s change, h im s e lf and h i s t o r y a t th e cen
t r e o f a p r o c e s s o f becoming., , For him l i f e
i s an e x p e rie n c e no m a tte r w hat th e n a tu t e
o f i t s c o n te n t, in which n o th in g s ta n d s
s t i l l , n o th in g l a s t s and th e f u tu r e b e c t o n s .
However, when man s e i z e s on th e p r e s e n t mo
m ent o f h i s e x p e rie n c e as th e o n ly r e a l tim e ,
he s p a t i a l i z e s h i s e x is te n c e , t h a t i s he
f i l l s h is p e r c e p tio n w ith o b j e c ts w hich ta k e
on s o l i d i t y and c o m p le te n e ss - a s t a t e o f
p erm an en ce.. H is w o rld i s no lo n g e r one o f
tim e and phange a lo n e ; i t i s a w orld o f space
i n w hich tim e and c h a n g e >a r e modes o f m o tio n .
In th e new m u sic , tim e as d u r a tio n becomes a
dim ension o f m u sic a l s p a c e . The new s p a t i a l
image o f m usic se e k s to p r o j e c t th e perm anence
o f th e w orld a s cosm os, a s th e e t e r n a l p r e s e n t .
I t i s an im agejO f m usic w hich a s p i r e s to B eing,
n o t Becom ing."

(
'
^

- J h e ^ e ^ s e n t i a l d if f e te n .e e betw een th e se n se o f "becomijig" in


R o c h b e r g 's 'te m p o ra l im ag e' and t h a t o f "b ein g " a s s o c ia te d
wit^i th e s p a t i a l image can be r e l a t e d i n more- p r e c i s e th e o r e t i c a l term s t o th e e x t e n t to which p e r c e iv a b le and p r e d i c t a b l e
p a tt e r n i n g i s in v o lv e d i n th e m u sic a l form .

P u t v e ry sim p ly ,

th e s u b j e c t iv e i n t e r p r e t a t i o n and a n t i c i p a t i o n o f e v e n ts i 3
c h a r a c t e r i s t i c o f th e e x p e rie n c e o f m usic in w hich th e r e i s
p e r c e p t i b l e form o f p a t t e r n i n g b e in g m a n ip u la te d by th e
com poser.

J n th e s e s t y l e s , th e

m u sic a l f u t u r e i s o f i n t e r e s t

---------- :--------------------------------------------X --------------------------------------------------- -- -------

2. George R ochberg, "The New Image o f M u sic," P e r s p e c tiv e s


OfUew, Music-, I l l

( F a l l , 1963) >P . 9 - 1 0 .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

(.

t o th e l i s t e n e r b ecau se i t i s p a r t i a l l y im p lie d in th e incom


p l e t e p a tt e r n s o f th e p r e s e n t moment, and i s t h e r e f o r e p a r t i a l l y
p re d ic ta b le .

An u n q u e s tio n in g , o b j e c ti v e a c c e p ta n c e , o r as

S tra v in s k y has d e s c rib e d i t , a se n se o f 'dynam ic c a lm ' can be


o b se rv ed in m usic which p r e s e n ts a minimum o f a p p a re n t i n t e n
t i o n a l o r g a n iz a tio n .

In such m usic, i t i s th e en d u rin g q u a l i t y

o f th e p r e s e n t moment w hich i s th e c e n tr e o f m u sic a l i n t e r e s t .


The m u sic a l f u tu r e i n t h i s case i s e i t h e r to o h ig h ly p r e d ic ta b le
o r to o h ig h ly u n p r e d ic ta b le to engage th e l i s t e n e r in any se n se
o f s u b je c tiv e a n t i c i p a t i o n .
T his g e n e r a l p e r s p e c tiv e on m u sica l e x p e rie n c e and m u sica l
form i s p a r t i c u l a r l y u s e f u l in th e d e s c r i p t io n of much o f th e
s t y l i s t i c developm ent w hich has ta k e n p la c e in w e ste rn a r t music
d u rin g t h i s c e n tu r y . *In t h e t r a d i t i o n a l to n a l s t y l e s o f th e
e ig h te e n th and n in e te e n th c e n t u r ie s w hich would be th e prim e
exam ple o f th e 'te m p o ra l im age' o f m usic, th e l i s t e n e r 's re c o g
n i t i o n , e i t h e r c o n sc io u s o r u n c o n sc io u s, o f an abundance o f
%

fo rm al p a tte r n in g i n m elody, harmony, rhythm , t e x t u r e , dynam ics


e t c . i s a p r i n c i p a l a s p e c t o f th e e s t h e t i c e x p e rie n c e .

3.

c >

Any

The h i s t o r i c a l o r i g in o f th e fundam ental idiom s and


p a tt e r n s i n t r a d i t i o n a l s t y l e s i s o f te n very com plex, b u t
u l t i m a t e l y to be found in m u s ic 's a s s o c i a t io n W ith elem en ts o f
r e a l l i f e e x p e r ie n c e , i . e . , th e dance, r i t u a l cerem o n ies,
l y r i c a l , d ra m a tic euid n a r r a t i v e forms and even l i t e r a r y
p rogram s. The v e ry g e n e ra l c o n c e p tio n o f m u sica l e x p e rie n c e
a s a type o f image o r'm e ta p h o r' o f r e a l l i f e e ^ e r i e n c e i s
found in B a s il de S ^ lin c o u r t,'s a r t i c l e 'M usic and D u ra tio n ' and
i s f u r t h e r d ev elo p ed by Susanne Langer i n F e e lin g and Form.
As w i l l be seen s h o r t l y , much o f th e d i v e r s i t y o f tw e n tie th
c e n tu ry m usic can be r e l a t e d to th e em ergance and a c c e p ta n c e
o f d i f f e r e n t c o n c e p tu a l m odels f o r m u sic a l form , b u t s in c e

\
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^ ;

se n se of 'b eco m in g ' o r 'g o a l d i r e c t i o n 1 in t h i s m usic


depends upon th e l i s t e n e r ' s i n t e r e s t in th e co m p letio n o f

th e s e elem ents o f form al p a tt e r n i n g .

With th e e v e n tu a l

d i s i n t e g r a t i o n o f th e form al p r e d i c t a b i l i t y which c h a r a c t e r
iz e d the to n a l language o f th e n in e te e n th c e n tu ry , th e g e n e ra l
c h a r a c te r of m u sical tim e becam e
g o a l o r ie n te d .

le s s in tr in s ic a lly

V arious form s o f o b se rv a b le c o n tin u ity were

n e v e r t h e l e s s 'd e r i v e d in th e n o n -to n a l s ty le ! * th r o u g h r e fe r e n c e
and a s s o c ia tio n w ith d i f f e r e n t e x tr a - m u s ic a l form s.

Such

would be th e c ase in S c h o e n b e rg 's a to n a l m usic dram as as i t h as


been t r a d i t i o n a l l y w ith song and o p e r a t i c form s.

S im ila r ly ,

th e n e o - c l a s s i c i s t r e l i a n c e on a c a d e m ic a lly d e fin e d ^fcyjms


and th e em ergeance o f a s p a t i a l , a r c h i t e c t u r a l c o n c e p tio n o f
^

form in th e m usic o f Webern and V arese can be re g a rd e d

as

im p o rta n t c o m p o sitio n a l fram eworks f o r th e e x p lo r a tio n

of

new to n a l re s o u rc e d .

In term s o f m u sic a l tim e , t h e r e f o r e ,

much o f th e m u sical i n t e r e s t in t r a d i t i o n a l to n a l s t y l e s
can be u n d e rsto o d as th e c r e a t i o n o f p l a u s ib l e d i s c o n t i n u i t i e s
w ith in e s t a b l is h e d idiom s and p a t t e r n s , a view h e ld by many

t h e o r i s t s w ith a n a l y t i c a l p e rs p s p e c tiv e s as d i f f e r e n t as th o se
o f S chenker and L eonard Meyer.

C o n v e rse ly , much o f th e i n t e r e s t

t h i s r e l a t e s to L anger and de S e l i n c o u r t 's n o tio n s (which d e a l


p r im a r ily w ith t r a d i t i o n a l form s) in o n ly t h 6 m ost g e n e ra l
way, t h e i r work w i l l n o t be b ro u g h t d i r e c t l y in to t h i s
d is c u s s io n .

[ *

>
I
;
,

4.
r "j
'

W ithout going i n t o any d e t a i l on th e d if fe re n c e s ^ a n d


s i m i l a r i t i e s betw een th e s e two p e r s p e c tiv e s , t h e i l i g e n e r a l
view o f m u sic a l tim e as a m a n ip u la te d c o n tin u ity i s e x p re ss e d
i n t h e i r s e l e c t i o n o f term in o lo g y such a s S c h e n k e r's 'p r o lo n g a tio n '

I
)

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i n tw e n tie th c e n tu ry s t y l e s would a p p ea r to be in th e c r e a t i o n
o f a c o n v in c in g c o n ti n u i ty u s in g m u sical m a t e r i a l f o r w hich no
p r e v io u s ly w e ll e s t a b l i s h e d m u sic a l p a t t e r n i n g has e x i s t e d .

Of th e e x tra -m u s ic a l m odels o r c o n s tr u c ts p r e v io u s ly
m en tio n ed , th e s p a t i a l - a r c h i t e c t u r a l c o n c e p tio n o f f o r m 'i n t r o
duced in th e music o f Webern and V arese h a s r e c e iv e d w id esp read

a t t e n t i o n and e la b o r a tio n among modern t h e o r i s t s and com posers.


W ith t h e e lim in a tio n o f any o b s e rv a b le r e f e r e n c e to t r a d i t i o n a l
harm onic d i r e c t i o n in t h e i r m u sic, b o th Webern and V arese
c u l t i v a t e d d i f f e r e n t ele m e n ts o f ' s p a t i a l ' p a t t e r n i n g ;

Webern

w ith h i s p r e d i l e c t i o n f o r g e o m e tric sym m etries in p i t c h and


tim e , and V arese w ith h is r e p r e s e n ta t io n o f s h i f t i n g s o n ic m asses
o f harmony and tim b re .^

T his more 'v i s u a l l y ' i n s p i r e d

c o n c e p tio n o f form was f u r t h e r developed in th e m usic o f


I a n n is X enakis (M e ta s ta s is ) w here .-there i s a h ig h ly s o p h i s t i c a t e d
t r a n s l a t i o n o f th e s t a t i c s p a t i a l dim ensi'ons o f p h y s ic a l
o b je c ts

(h e ig h t, le n g th and d ep th ) i n to th e s o n ic d im en sio n s

o f p i t c h and tim e.

S im ila r ly , a ty p e o f g r a p h ic , s p a t i a l

o r 'i n t e r r u p t i o n ' o r Meyer 's u c c e s s i v e d e v i a t i o n ' o r 't h e law


i o f g.ood c o n ti n u a t i o n 1 (th e l a t t e r term borrow ed from G e s t a l t
psychology) .
5.

A lthough i t i s n e c e s s a ry i n t h i s d is c u s s io n to p a ss
b r i e f l y over th e p r i n c i p a l f e a tu r e o f i n d iv id u a l s t y l e s ,
a p a r t i c u l a r l y v a lu a b le r e f e r e n c e f o r t h i s a s p e c t o f V a r e s e 's
m usic can be found i n h is own d e s c r i p t i o n o f th e way in w hich
he c o n c e iv e d I n t e g r a l e s in "L e Poeme E le c tro n iq u e Le C o rb u sie r,"
Les C a h ie rs F o rces V jy re s , p g . 192. - - - - - - - /

1
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

model o f m u sical form emerged in the music o f b o th L igetti**


(A tm ospheres, Volumina)and S tockhausen (Gruppen) where
s e r i a l i z e d tim b ra l and t e x t u r a l c h a r a c te r s (each h aving
a more o r l e s s s t a t i c , d i r e c t i o n l e s s form al o rg a n iz a tio n )
a re j u x ta p o s e d much l ik e th e c o lo u rs and s u r f a c e s o f
a b s t r a c t p a in tin g .
^
These l a t e r works o f X enakis, Stockhausen and L i g e t t i ,
in w hich th e r e i s a c o n scio u s t r a n s l a t i o n o f s p a t i a l images
in to m u sical form , a re c h a r a c te r iz e d by an absence o f any
su g g e s tio n o f movement o r d i r e c t i o n , b a s ic elem ents o f
e x p e rie n c e which were s t i l l p r e s e n t to a deg ree in tfee rhythm ic
g e s tu r e s o f Webern and V arese, and which were among th e
p r i n c i p a l f e a tu r e s o f th e more t r a d i t i o n a l s t y l e s .

As Rochberg has p o in te d o u t c o n ce rn in g the 's p a t i a l '


image o f m usic, th e c e n tr a l i n t e r e s t in t h e m usical

e x p e rie n c e i s n o t i n th e f u l f i l l m e n t of lo n g range g o a ls ,
b u t in th e more in s ta n ta n e o u s p e rc e p tio n o f i s o l a t e d form s
betw een which th e r e may be a g r e a t e r o r l e s s e r degree o f
c o n ti n u i ty .

The d if f e r e n c e i n d e g re es o f i n t e r n a l p a tt e r n i n g

betw een s t y l e s which a re e s s e n t i a l l y 's p a t i a l ' in t h e i r


c o n c e p tio n cam be observed in com paring t h e above works i?of
6.

^ j

A gain, a v a lu a b le a c c o u n t'o f t h i s can be found i n the


c o m p o ser's own words. See L i g e t t i 's "Metamorphoses o f
Mv^sical Form" in d ie R eihe, volume V II p g . 15.

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%
^ !

X enakis and L i g e t t i w ith works o f Boulez (S t r u c tu r e s I e t


i

and Cage (4 '2 2 " ) .

p a s s a g e s w hich have an o b se rv a b le y ^ e H n a l c o h e re n c e e i t h e r

II )

L i g e t t i and X enakis p r e s e n t i s o l a t e d
in

t e x t u r e , tim b re , g e s tu r e o r a r t i c u l a t i o n , b u t no o b s e rv a b le
lo g ic in th e s u c c e s s io n o f / t h e s e p a s s a g e s .

The more a n t i t e l e -

o l o g i c a l works o f B oulez land C age, e i t h e r by th e im p o s itio n


o f .v e ry coittgTejc^and^a r t i t r a r y d e te rm in a n ts o f form (as i n
B oulez) </r 'by th e c o n sc io u s n e g a tio n o f i n t e n t i o n a l c o h e re n c e
(as iiy t h e c ase o f much o f C a g e 's music) no p e r c e iv a b le
c o h eren c e o r p a tt e r n i n g em erges i n th e m usic a t a l l . Form in
SC

t h e s e \ l a t t e r s t y l e s h a s o n ly th e m ost s u p e r f i c i a l long range,


u n i ty w hich i s u n d e rsto o d a s a d u r a tio n
f o r t u i t i o u s l y r e l a t e d e v e n ts .

oi

a rb itra rily o r

I t i s i n t e r e s t i n g t o not#*

L eonard M e y er's o b s e r v a tio n on t h e se n se o f s t a t i c , d i r e c t i o n


l e s s tim e o f t h i s m u sic.
" I f o n ly u n iq u e p a r t i c u l a r s , n o t th e c a u s a l
c o n n e c tio n s betw een them a re r e a l , th e n no e v e n t
presum es o r im p lie s th e e x is te n c e o f any o th e r
e v e n t. I f e v e n t s . a re w ith o u t im p l i c a ti o n , i t
makes no d i f f e r e n c e in w haf tem p o ral arra n g em e n t
th e y a r e e x p e rie n c e d o r d e s c r ib e d . The w o rld
i s to a l l i n t e n t s and p u rp o se s w ith o u t d i r e c t e d
tim e . M oreover, even though th e e x is te n c e o f
c a u s a tio n be a d m itte d , human tim e i s w ith o u t
d i r e c t i o n when a t t e n t i o n i s fo c u s s e ^ e x c lu s iv e ly
on th e ,u n iq u e n e ss o f p a r t i c u l a r s . "
# r

The g e n e ra l s i t u a t i o n in co n tem p o rary m usic i s t h a t


th e r e e x i s t s a wide d i v e r s i t y in c o n c e p tio n s o f m u sic a l form
/
'

%
*

7.

L eo n ard Meyer, M usic, th e A r ts and I d e a s , (C hicago:


U n iv e r s ity o f C hicago P r e s s , 196*)), p . 164.

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10

and in th e way in which c o n tin u ity and d i s c o n ti n u i ty can be


u n d e rsto o d by to d a y 's a u d ie n c e s .

As Jonathon Kramer h as o b se rv ed

i n a r e c e n t a r t i c l e , th e d i f f e r e n t c o n c e p tio n s o f tim e and


e x p e rie n c e i n to d a y 's m usic o f te n r e f l e c t s i g n i f i c a n t s o c i a l and
c u ltu ra l a tt i tu d e s .
yr
"I have w r i t te n e ls e w h e re ab o u t t h e c o r
r e l a t i o n betw een d is c o n tin u o u s l i f e s t y l e s and
contem porary a r t . .S in ce w r i t in g t h a t a r t i c l e ,
I h av e found i t in c r e a s in g ly d i f f i c u l t t o e x p e r
ie n c e m usical c o n ti n u i ty c o m f o r ta b ly . T here i s
som ething a r t i f i c i a l , som ething o th e rw o r ld ly ,
a b o u t th e id e a t h a t one m u sic a l e v e n t c a n a c t u a l l y
p r o g r e s s t o a n o th e r . Even l i s t e n i n g to th e m ost
in n o c e n tly l i n e a r to n a l m usic in v o lv e s some se n se
o f c o n t r a d i c t i o n . The c o n f l i c t i s not i n the
m u sic; th e c o n f l i c t i s betw een how th e m usic
u se s tim e and how a contem porary l i s t e n e r u n d e rs ta n d s
tim e . R ecent m usic t h a t d e a ls w ith tim e in new
ways has sou g h t to s o lv e t h i s c o n f l i c t and in so
d o in g i t has S truck^-"nerve c e n tr e in o u r c u l t u r e .
I r e f e r t o a n t i t e l e o l o g u c a l music! ( e . g . , some works
o f Jo h n C age), which p r e s e n t s t a t i c , e n d le s s Nows:
to p ro c e s s p ie c e s ( e . g / , some works of S te v e Reich)
t h a t move in ex o ra b ly ^ x h ro u g h w ellA d efin ed g ra d u a l
changes ( I s t h i s a d e s p e r a te a tte m p t to r e c a p tu r e
c o n tin u ity ? ) and to moment form p ie c e s ( e . g . , some
w orks o f K a rlh e in z S to ck h au sen ) i n w hich th e m usic
c o n s i s t s o f a s u c c e s s io n o f s e l f c o n ta in e d s e c t i o n s t h a t
do n o t r e l a t e t o each o th e r in any f u n c t i o n a l l y
im p lic a tiv e m anner. However, com posers o f moment
form p ie c e s have n o t g iv en up c o n ti n u i ty e n t i r e l y ;
t h a t would be a f i c t i o n , b e ca u se im p lic a tio n i s
s t i l l p o s s ib le and- th e d is c o m fo rt o f c o n ti n u i ty
Can be used p o s i t i v e l y . B ut im p lic a tio n is now
l o c a l i z e d b ecau se i t h as become b u t one p o s s i b i l i t y
w ith in a l a r g d .u n i v e r s e ; c o n t i n u i t y is no lo n g e r
p a r t o f m u sica l s y n ta x , b u t r a t h e r i t i s an o p tio n a l
p ro c e d u re .' I t m ust b e c r e a t e d o r d e n ie d anew in
each p i e c e , and th u s i t i s th e m a t e r i a l and n o t t *
e lan g u ag e o f th e m u sic . " 8

8 . ^ Jo n a th o n Kramer, "Moment Form in T w en tieth C en tu ry M u sic,"


M u sic a l Q ^ k f te r ly , (LXIV) (1 9 7 8 ), p . 178-179.
(

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11

K ram er's rem arks a re an i n t e r e s t i n g r e f l e c t i o n o f th e


in f lu e n c e w hich th e 's p a t i a l ' image o f m usic has had in t h e
g e n d ra l l i s t e n i n g h a b it s of contem porary a u d ie n c e s .

At th e

same tim e , how ever, Kramer p o in ts t o th e i n t e r e s t i n g p o ss ix ^


b i l i t y w hich e x i s t s in contem porary m usic, o f c r e a t i n g i s o l a t e d
*

c o n t i n u i t i e s w ith in w hat he view s a s th e g lo b a lly s t a t i c


tre a tm e n t o f m u sical tim e which has pervaded contem porary
/

m usic.

T h is l a t t e r o b s e r v a tio n w i l l be o f f u r t h e r re le v a n c e

in th e s tu d y of Crum b's p a r t i c u l a r tre a tm e n t o f m u sica l tim e .


Given t h e s t y l i s t i c d i v e r s i t y .which has emerged i n th e r e c e n t
Va v a n i g a rd e , th e a n a ly s is o f m u sic a l tim e and e s t h e t i c
e x p e rie n c e w ith in in d iv iflu a l s t y l e s has an im p o rta n t p la c e in
th e d is c u s s io n o f contem porary m u sic, a s i t has g e n e r a lly
among th e v a rio u s p e r s p e c tiv e s in contem porary m usic th e.ary
L ike m ost c u r r e n t p e rs p e c tiv e s in m usic th e o ry , how ever, th e
a n a ly s is o f m u sical tim e m ust be p u rsu e d w ith in w e ll d e fin e d
lim ita tio n s .

U ltim a te ly , any type o f o b se rv a b le form al

p a tt e r n i n g o r im p lic a tio n o f p a tt e r n i n g many be r e le v a n t


to an i n d i v i d u a l 's e x p e rie n c e o f a work s in c e t h i s w i l l p ro v id e
a b a s i s f o r th e s u b je c tiv e a n t i c i p a t i o n o f e v e n ts .

C a re fu l

c o n s id e r a tio n m ust be g iv en t o l i m i t th e d is c u s s io n o f p a t t e r n
ing to f i r s t l y , th o se e le m e n ts w hich a re p e r c e p tu a lly w ith in
th e g ra s p o f a l i s t e n e r in a norm al l i s t e n i n g s i t u a t i o n , and
se c o n d ly , th o s e ele m e n ts which a re r e l e v a n t to the, g e n e r a lly
a c c e p te d s t y l i s t i c u n d e rs ta n d in g o f th e m usic.
()

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12

c.

T h is can be c a r r i e d o u t w ith in a t r a d i t i o n a l h i e r a r c h

i c a l approach to a n a l y s i s , fo c u s s in g a t t e n t i o n on d i f f e r e n t
'l e v e l s ' o f m eaning and s t r u c t u r e from th e s h o r t e s t s i g n i
f i c a n t g e s tu r e to th e e lem en ts o f lo n g ran g e u n i ty .

An

a c c o u n t o f t h e b a s ic a s p e c ts o f fo rm al o r g a n iz a tio n o r
'm u s ic a l la n g u a g e ' w ill be t|ik e n as a b a s i s fo r th e a n a ly s is
o f m u sic a l tim e s in c e t h i s i s th e so u rc e o f p a tte r n in g and
p r e d i c t a b i l i t y in a s t y l e .

A lthough i t i s i n t e r e s t i n g to

uncover v a rio u s h idden s t r u c t u r a l d e v ic e s which r e f l e c t th e


^ c le ta il o f a c o m p o ser's c o n c e p tio n o f form , the c e n t r a l o b j e c t
o f t h i s stu d y w i l l be th e n a tu re o f th e communicated e f f e c t
o f a s t y l e a s i t r e s u l t s from th e e le m e n ts of m u sica l lan g u ag e
and b a s ic f a c t o r s o f m u sica l e x p e rie n c e .

The t r a d i t i o n a l

f e a t u r e s o f s tr u e tu r a ly d e ^ ig n w i l l t h e r e f o r e be d is c u s s e d ,
w h erev er p o s s ib le in term s of t h e i r p e rc e iv e d e f f e c t and th e
n a tu re o f t h e i r s ig n if ic a n c e w ith in th e h i e r a r c h i c a l form and
w ith in th e p a r t i c u l a r lo g ic o f c o n ti n u i ty o f a work.
To th e s e e n d s, t h i s stu d y w i l l draw upon th e approaches
t o s t y l i s t i c and form al a n a l y s i s d ev elo p ed in th e work of
L eonard Meyer (Emotion and Meaning i n M usic, M usic, th e A rts
. ^ and I d e a s ) , J a n La Rue (G u id e lin e s f o r S ty le A n a ly s is ) and
Eugene Narmour (Beyond S chenkerism ) .

La R u e's work d e l i n e a t e s

fundam en tal p a ra m e te rs o f p e rc e iv e d form i n m usic, as w e ll a s


b a s ic common Idiom s which a re found i n r e s p e c t t o th e s e
p a ra m e te rs i n a w ide v a r i e ty o f s t y l e s and p e r io d s .
o

little

A lthough

s p e c i f i c r e f e r e n c e w i l l be made t o La R u e 's 'G u id e li n e s '

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

13

h i s g e n e ra l approach to d e t a i l e d a n a l y s i s w i l l be s tr o n g ly
r e f l e c t e d in t h i s s tu d y .

In a d d itio n t o th e s t y l i s t i c and

s t r u c t u r a l ele m e n ts o f th e more d e t a i l e d a n a l y s i s , c e r t a i n
f in d in g s in th e p e rc e p tio n o f rhythm and d u r a tio n (more s p e c i
f i c a l l y some o f th o se which P aul F r a i s s e has p re s e n te d in
The P sychology of Time) w i l l be r e f e r r e d t o in o rd e r t o o b je c
t i f y c e r t a i n c la im s made i n th e c o u rse o f th e stu d y re g a rd in g
p a tte rn p r e d ic ta b ility ,

L eonard M e y er's w r itin g s

(an im p o rta n t

e x te n s io n o f w hich i s found in Eugene N arm our's I m p lic a tio n R e a liz a tio n mqdel f o r a n a ly s is ) w i l l r e c e iv e more s p e c i f i c
r e f e r e n c e s in c e th ey r e l a t e d i r e c t l y t o th e d e s c r i p t io n of
e s t h e t i c e x p e rie n c e d e riv e d from th e r e c o g n itio n and e x p e c ta tio n
o f form al p a tt e r n i n g in b o th t r a d i t i o n a l and a v a n t- g a r d e s t y l e s .

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14

CHAPTER I I :

CRUMB'S MUSICAL LANGUAGE

Much o f th e re sp o n se w hich Crum b's m usic h a s enjoyed


ov er th e l a s t f i f t e e n y e a rs can be a t t r i b u t e d t o h is unique
and c o n v in c in g com bin atio n o f t y p i c a l e le m e n ts o f th e av an tgarde w ith v e ry fundam ental and t r a d i t i o n a l e lem en ts o f
m u s ic a l.p a tte r n in g and e f f e c t .

In g e n e r a l te rm s, Crum b's

s t y l e i n t e g r a t e s v ery c o l o r i s t i c and o f t e n r i c h l y c o n n o ta tiv e


so n ic (to n a l and tim b ra l) im agery w ith a form al ele g an c e
which i s r e a d i ly a p p a re n t in th e use Of v a rio u s term s of
r e p e t i t i o n and l y r i c a l d ra m a tic g e s t u r e .

As w i l l be seen in

th e fo llo w in g d is c u s s io n , th e unique q u a l i t y o f m u sical tim e


^

in Crum b's s t y l e can be r e l a t e d to b o th th e i s o l a t e d e f f e c t s


<**
o f th e s e b a s ic ele m e n ts and t h e i r r o le i n t h e 't y p e o f l a r g e r
meaning which Crumb c r e a te s o v e r a whole c o m p o sitio n .
1 I t is

i n t e r e s t i n g to r e l a t e th e

i n i t i a l developm ent o f

Crum b's s t y l e to an o f te n c i t e d remark w hich Schoenberg made


co n ce rn in g h i s own i ^ i r s t a tte m p ts to e s t a b l i s h form al coherence
in h i s m usic in th e absence o f any t r a d i t i o n a l f u n c tio n a l
harm onic o r g a n iz a tio n .
"A l i t t l e w h ile l a t e r , I d is c o v e re d how t o
c o n s t r u c t lo n g e r form s by fo llo w in g a t e x t o r
poem. The d i f f e r e n c e i n s i z e and shape o f i t s
p a r t s and th e change i n c h a r a c t e r and mood were
m irro re d in th e shape and s i z e o f t h e com posi
t i o n , i n i t s dynamics and tempo f i g u r a t i o n and
a c c e n tu a tio n , in s tru m e n ta tio h and o r c h e s t r a t i o n .
Thus th e p a r t s w ere d i f f e r e n t i a t e d a s c l e a r l y
as th e y had fo rm e rly been by th e to n a l and s t r u c t u r a l
f u n c tio n s o f harm ony."

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;

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t

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15

s
/

In h i s d is c u s s io n o f S c h o e n b e rg 's .m u s ic , C h a rle s Rosen n o te s


a v ery e s s e n t i a l c o n n e c tio n betw een th e fo rm a tio n o f Schoen-

b e r g 's a to n a l s t y l e and th e p r e v a le n t e s t h e t ic - i d e a ls e x p re sse d


, 4r
j
_
i n th e p o e try of $ ral le, Heym, and t o an e x te n t m S te fa n
G eorge. 10 An a n a ly s is o f Crumb's s t y l e p o i n ts t o ' a , s im ila r

developm ent and g ro w th o f m d sica l lan g u ag e from Crum b's a s s o c i


a ti o n o f h i s m usic w ith th e p o e tr y o f F e d e ric o G a rc ia Lorca.
The fo rm a tiv e in f lu e n c e o f L o rc a ^ is p l a i n l y e v id e n t i n the

s t r u c t u r a l se n se t h a t i n th e s e v e r a l L orca s e t t i n g s t h a t Crumb

has

made, th e t e x t s e rv e s a s a p rim ary e le m e n t o f l i n e a r


11
o r g a n iz a tio n .
On a more fundam ental c r e a t i v e l e v e l , how ever.

Crumb has a ls o r e f l e c t e d in h i s m usic im p o rta n t a s p e c ts o f


/

th e

form, and s t y l e o f Lorca, 's p o e tr y .

L o rc a 's q e n e r a l approach was d e c id e d ly a n t i - i n t e l l e c t u a l .


R efu sin q to^ be r e s t r i c t e d to s y m b o lis t, u l t r a i s t o r s u r r e a l i s t
dogmas, he p a rto o k f r e e l y 1of a l l o f th e s e in f lu e n c e s in a
-v

p o e tr y which i s o p en ly l y r i c a l and, in i t s
o f te n s u g g e s tiv e o f t r a d i t i o n a l p o p u la r

fo rm a l s i m p li c it y

s ty le s .

9 A rnold S choenberg, S ty le and I d e a , (New,York, P h ilo s o p h ic a l


L ib r a r y )
106
10 C h a rle s Rosen, A rnold Schoenberg (New Y ork, V ik in g , 1975) p . 14
11 In more o r l e s s c h ro n o lo g ic a l o r d e r , C rum b's L orca s e t t i n g s
in c lu d e th e fo llo w in g ; N ig h t Music I , M a d rig als Bk. I , I I , I I I
IV, SOngs, D rones and R e fra in s o f D e a th , N ig h t~ o f th e Four
Moons, ana A n c ie n t V oices o f C h ild re n !

r>
:/
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16

The p r i n c i p l e c o n te n t o f L o rc a 's p o e try r e f l e c t s h is s p i r i t u a l


^

communion w ith h i s im m ediate n a tu r a l and s o c i a l environm ent


( p r e - f a s c i s t S p a in , e s p e c i a l l y A n d a lu sia and Granada) > I t ' s
w id e ly ra n g in g e m o tio n al i n t e n s i t y i s fo c u s se d on fundam ental
p sy c h ic elem en ts o f l i f e u s u a lly i n a p r i m i t i v e r u s t i c s e t t i n g .
P erhaps th e b e s t d e s c r i p t io n o f L o r c a 's in f lu e n c e on Crum b's
m usic can be found i n Crum b's own words i n h i s n o te s fo r th e
re c o rd in g o f A n c ie n t V oices o f C h ild re n .

"Ift A n c ien t V oices o f C h ild re n , a s in m y - e a r lie r


Lorca s e t t i n g s , I have sought m u sic a l im ages t h a t
enhance and r e i n f o r c e th e p o w e rfu l, y e t s tr a n g e ly
h a u n tin g im agery o f L o rc a 's p o e tr y . I f e e l t h a t the
e s s e n t i a l m eaning o f t h i s p o e try i s c o n cern ed w ith th e
m ost p rim a ry t h in g s : l i f e , d e a th , lo v e , th e sm ell o f
th e e a r t h , th e sounds o f th e e a r t h and s e a .. These
" u r-g o n c e p ts" a re embedded in a lan g u a g e w hich i s
p r im itiv e and s tj^ rk , b u t which i s c a p a b le o f i n f i n i t e l y
s u b tle n u a n c e ."

,
'

'

Much o f th e g e n e r a l atm osphere of L o r c a 's p o e tr y i s im m ediately


co m p atib le w ith th e m a te r ia l w ith which Crumb was
th e f i r s t p ie c e s o f h is new s t y l e

w orking in

(F iv e P ie c e s f o r P iano,

E leven Echoes of Autumn, Four N octurnes and N ig h t Music I . The


r i c h and e t h e r e a l r s o n o r i t i e s , th e sudden e x p re ssio n is tic , .
s

o u tb re a k of d ra m a tic te n s io n , th e i s o l a t e d l y r i c a l f i g u r e s , and
12 George Crumb,vVoxces o f C h ild r e n , (New York, Nonsuch
R ecords, 1971, H-71255) n o te s on re c o rd c o v e r.

('

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17

(j

s i m p l i s t i c r e p e t i t i o n s a l l have s i g n i f i c a n t p a r a l l e l s i n L o r c a 's
p o e tr y .

In a d d it i o n , much o f th e L orcan gypsy w o rld i s evoked

( e s p e c ia lly i n th e l y r i c a l s e t ti n g s ) i n p u r e ly m u s ic a l,
. c o n n o ta tiv e te rm s:

f o r exam ple, th e s u g g e s tio n o f t r a d i t i o n a l

f o lk in s tru m e n ts ( g u ita r , o r g u i t a r im m ita tiO n s, f l u t e and


drumming) th e im m ita tio n o f t r a d i t i o n a l S p an ish m u sic a l s t y l d s
^

(th e b o le ro "Dance o fo th e E arth " of A n c ie n t V oices o f C h ild r e n ,


*

i>

th e flam engo l i k e 'c a d e n z a a p p a s s io n a te * o f Songs, Drones


and R e fra in s o f Death) and th e im m ita tio n o f th e Andal-usian
*"

'c a n to jo n d o '

(a w ild ly e m o tio n al v o c a l i z a t i o n and lam ent which

i s v e ry common in th e r u s t i c S p a n ish f o lk t r a d i t i o n ) i n a
number o f v o c a l works .

Of th e v e ry g e n e ra l f e a t u r e s of C rum b's s t y l e m entioned


^

a t th e opening o f t h i s c h a p te r , both t h e h ig h ly e v o c a tiv e s o n ic


im agery, land th e u se o f t r a d i t i o n a l e le m e n ts o f form al

>'

p a t t e r n i n g c an be r e l a t e d e x p l i c i t l y t o key e lem en ts o f L o r c a 's


. p o e tic s t y l e .

L o r c a 's r i c h y e t moving im agery h a s re c e iv e d .


*

much, a tt.e n tio n from c r i t i c s f o r i t s r e f e r e n c e to a v a r i e t y o f


sym bolic a rc h e ty p e s .

Howard T. Ydung has g iv e n a v a lu a b le

d e s c r i p t io n o f t h i s a s p e c t of L o r c a 's v e rs e w hich i s s tr o n g r e f l e c t e d i n Crum b's m u sic.


1
|
|
I
|
|
i

<4 '

(-).

. '
"One need th in k Only o f th e r o l l o f drums,
. t h e b la r e o f tru m p e ts , o r t h e w a il o f a s i r e n
- ,
to r e a l i z e t h a t th e re s p o n s e t o such sounds i s
j
u n i v e r s a l . L o rca , i n f a c t , seems to have adum brated
th e Ju n g ia n id e a o f t h e a rc h e ty p e , - t h a t h idden
]

'
'
:
;

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

18

form o r image s l e e p i n g in th e b l o o d ,t h a t
i s q u ic k ly r e l e a s e d by c e r t a i n o b j e c t s , Sounds,
or works o f - a r t . L o rc a , o f coureg knew n o th in g
of Ju n g , b u t he was w e ll a w are , as h i s d e s c r i p
t i o n o f th e w a ilin g dogs r e v e a l s , t h a t t h e r e
a re t e r r o r s w hich d a te beyond th e body, and t h a t
th e r e a re s u b j e c t i v e l y known forms w hich a r t ,
s in c e i t s o r i g i n s , h as comm unicated by i n t u i t i o n ,
o r a s he p u t i t more p o e t i c a l l y , by means o f th e
'm ir r o r o f th e s t a r s ' .
In h i s p o e tr y , He t r i e d
to evoke such im ages a s much a s p o s s i b l e . H is
l e c t u r e on th e du'ende l i s t s a s e r i e s o f o b j e c ts
t h a t ' t o him u l t i m a t e l y su g g e ste d d e a th , and w h e th e r
o r n o t each one c o n n o te s a s i m il a r f e e l i n g f o r
e v e ry r e a d e r , t h e im p l i c a ti o n i s , a s Ju n g d e c la r e d ,
t h a t th e s e form s c a l l f o r t h from th e ^ u n c o n s c io u s a
r e a c t i o n t h a t i s s h a re d by m ankind.
P ro m in e n t a rc h e ty p a l im ages in L o r c a 's p o e try in c lu d e "w a te r"
(a m b iv a le n tly s i g n i f y in g a f e a r o f d e a th from drow ning o r
t h e l i f e 'g iv in g fo rc e o f t h e o c e a n ) , t h e wind (sy m b o lic o f
$ s p i r i t u a l p re se n c e ) th e moon ( t r a d i t i o n a l l y a g o d d ess o f
l u s t and d e a t h ) , th e vague im p re s s io n s o f c e r t a i n c o lo u r s
l i k e g re e n and o ran ge ( p l a n t l i f e , d e c a y , and f i r e )

a s w e ll

a s th e n a t u r a l p o l a r i z a t i o n o f l i g h t and d a rk n e s s .

Crumbs4*

v o c a b u la ry o f so n ic a rc h e ty p e s in c lu d e s an e q u a lly g r e a t v a r i e t y
o f sp u n d s, some o f which a r e e a s i l y i d e n t i f i a b l e a s s u g g e s tin g
t h e wind o r any of th e e x tre m e l y r i c a l g e s tu r e s (sc rea m in g
o r w h isp e rin g ? and o th e r s w hich have more vague a s s o c i a t i o n s

<

b u t w hich a re n e o n th e le s s f o r c e f u l i n t h e i r e f f e c t , l ik e , a c u te
h ig h r e g i s t e r a tt a c k s ( s tr u c k o f p lu c k e d ) , s i r e n l i k e g l i s s a n d i
i n th e s t r i n g s , th e m u ffle d r o a r o f t h e low r e g i s t e r p ia n o

13.
( ")

Howard T. Young, The V ic to r io u s E x p ress i o n .


U n iv e r s ity o f W isconil]trT ress7 l964r7- F^

r
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

(M adison,

19

s t r i n g s ( a c tiv a te d by th e palm o f th e h a n d ), any o f th e


d e l i c a t e b e l l o r gong sounds o r in s ta n c e s of tim b re s s u s ta in e d
as d ro n e s .

The e s t h e t i c e f f e c t o f Crum b's use o f t h i s

m a t e r i a l i s such as Howard T. Young h as d e sc rib e d o f th e


t

sym bolic a rc h e ty p e s in L o r c a 's p o e tr y .

These sounds and

g e s tu r e s c r e a t e a d i r e c t and i n t u i t i v e resp o n se in th e l i s t e n e r
by v i r t u e o f v e ry s tro n g and more o r l e s s u n iv e r s a l a s s o c i
a tio n s .

As i s o l a t e d e v e n ts , th e y have s u b je c tiv e m eanings

in and of

b f th em selv es w hich a r e im m ediately memorable and

d is tin c tiv e .
j
In a d d it i o n to th e s tr o n g a r c h e ty p a l elem ents o f
Cruipb's im agery, much o f t h e e f f e c t o f h is m a te r ia l is f e l t
in i t s v e ry

d i s t i n c t i v e c o n n o ta tiv e s ig n if ic a n c e f o r w e ste rn

a u d ie n c e s .

T h is would in c lu d e t h e r i c h v a r ie ty o f tim b r a l
*
and to n a l c o lo r a tio n s such a s th e v a rio u s e v o c a tio n s of
r u s t i c S p an ish s t y l e s m entioned e a r l i e r , o th e r e x o ti c
e v o c a tio n s l i k e th e use o f gong sounds', C hinese ^(temple b lo c k s ,
th e '.m bira, lu jo n , s i t a r , je w 's h a rp , b a n jo , w h is tlin g as
\

w e ll as th e

u se of q u o ta tio n from to n a l and modal s t y l e s .


11

-s

T hese e le m e n ts which in v o lv e more s t y l i s t i c a l l y and c u l t u r a l l y


le a rn e d a s s o c ia tio n s c o n tr i b u te t o th e sense o f t h e a t r i c
and sym bolic i n te r a c t io n 'w h ic h i s o f te n im p l i c i t i n Crum b's
i n t e g r a t i o n o f d is p a r a te m a t e r i a l s .

( 1

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20

A f u r t h e r im p o rta n t s t y l i s t i c p a r a l l e l betw een Grumb


and L o rca c a r r b e ^ e e n in t h e i r i n t e g r a t i o n o f th e a r c h e ty p a l
and c o n n o ta tiv e e f f e c t s o f t h e i r im ages i n t o a l a r g e r -form
and m ean in g .

The p o e tic fram ework w ith in which L orca p re s e n te d

h i s im ag ery v a r ie d in th e c o u rs e o f h i s work from th e -s im p le


r e p e t i t i v e , s o n g -lik e s t y l e s t o th e more vague and te n u o u s
p a t t e r n i n g s 'f t f h i s u l t r a i s t o r s u r r e a l i s t in flu e n c e d p o e tr y .
Even i n h i s tre a tm e n t o f th e more a b s t r a c t and s p o n ta n e o u s ly
o rg a n iz e d s t y l e s ,

th e re rem ain s a c o n s is te n c y o f p o e t i c and

th e m a tic l o g ic w hich was o f te n abandoned by th e more dogm atic


a r t i s t s o f t h i s tim e .

"Lorca c e r t a i n l y u t i l i z e d th e s u r r e a l i s t
manner^ f i r s t in h i s odes around 1926, and c e r t a i n
o f th e Gypsy B a lla d s , su ch as t h e "Som nam bulistic
B a lla d " . We must n o te t h a t L orca d e c la re d t h a t
h e n ev er q u ite s u rre n d e re d to t h e u n co n scio u s
* and even h is s u r r e a l i s t poems have a 'p o e t i c
lo g ic
In a c t u a l f a c t , . wsj.nce by d e f i n i t i o n
th e u n co n scio u s rem ain s ^ in a c c e s s ib le to th e
c o n s c io u s m ind, no cfne can u t i l i z e th e uncon
sc io u s d e l i b e r a t e l y , b u t th e p o e ts have been
a b le to work w ith t h e sym bols o f th e u n c o n sc io u s .
What L orca means by 'p o e t i c l o g i c ' seems t o be
t h a t w hereas some s u r r e a l i s t s ten d e d to u t t e r
m assive in c o h e re n c e , h i s s u r r e a l i s t poems
g e n e r a lly have a th e m a tic d evelopm ent. The
o u ts ta n d in g f e a t u r e of h i s s u r r e a l i s t poems
i s t h a t th ey seem t o have come from a dream
s ta te ."
One o f th e c e n t r a l f e a t u r e s in much o f L o rc a 's p o e tr y
i s t h e com binatiofT of a c le a r and e le g a n t form al p a t t e r n i n g
o
w ith t h e sym bolic d e p ic tio n o f a sp o n ta n eo u s p sy c h ic a w a re n e ss.

14.
(

C a r l Cobb, F e d e ric o G a rc ia L o rca


1967) , p . 43.

J
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

(New York, Twayne,

As w ill be d is c u s s e d l a t e r in more d e t a i l , Crumb's m usic


d e m o n strates a com parable v a r i e t y of p a tte r n in g from sim ple
q u a si t r a d i t i o n a l r e p e t i t i v e form s to th e more d re a m -lik e
stream o f c o n s c io u s n e s s p a ssa g e s w h e re ,d e s p ite the g e n e ra l
rhythm ic freedom and spontaneity* th e re i s s t i l l a p e r c e p tib le
th em atic and g e s t u r a l o r g a n iz a tio n . / In term s of t h e i r o r g a n i
z a tio n o f e s t h e t i c e f f e c t , both L o rc a s p o e try and Crumb's
music p r e s e n t a b a la n c in g o f t h e s u b tle spontaneous i n s i g h t
w ith a se n se o f long range form and p a tt e r n i n g .
T h is g e n e ra l p a r a lle lis m i n s t y l e can be found in
v i r t u a l l y any o f Crumb's s e t t i n g s o f Lorca t e x t s , b u t th e
\
"Cancion de Jrfnete" (Song of th e R ider) from Songs, Drones
and R e fra in s o f Death i s p a r t i c u l a r l y w orth ta k in g as an
exam ple, (see th e schem atic summary t a b l e 1 , page 22-23 and
t r a n l a t i o n of th e t e x t , page- 24)-. W ithout going in to any g r e a t
d e t a i l , i t can be seen t h a t th e Lorca poem c o n s is ts o f a
very sim p le j u x t a p o s i t i o n and sequencing o f images and
e x p re s s io n s .

A c e r t a i n 's tre a m of c o n scic(u sn ess1 e f f e c t i s

c re a te d in th e d is c o n tin u ity i n th e su c c e ss io n of id e a s
( s h i f t i n g from th e q u e stio n s t o th e l i t t l e h o rse to sp o n tan eo u s
v is io n s of th e v io le n c e a s s o c ia te d w ith t h e death of t h e r i d e r )
and a l s o

in th e imagery i t s e l t in th e m ixing o f th e f e a t u r e s

o f th e h o rse and r i d e r w ith th o s e o f th e n ig h t ("In t h e b la c k


moon b le d th e m o u n tain sid e", "The n ig h t s p u rs i t s b la c k fla n k s
p ie r c in g w ith s t a r s . " ) Crumb's s e t t i n g c a p tu re s much o f th e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

TABLE I:

FORMAL OUTLINE OF 'CANCION DE JINETE*

"En la luna negra


de lo s bandoleros,
cantan la s esp eu la s. 1
arpeggiation
(hpschd.)

sta ca tto chords


( e le c t r ic h a rp si
chord)

drumming p attern
(tambourine, lujon)

" . . . la s duras esp u elas


d el bandido inm ovil
que perdito l a rien d as."
drumming p a ttern
( c r o ta le sj tarn tains,
pno. l^ebs s t r in g s ,
c .b .)

sta ca tto chords


(hpschd.)

arpeggiation
(hpschd.)

drumming p a ttern
(tim bales)

In cisiv e high r e g is t e r
guitar figu re

arpeggiation
(hpschdl)

g lissan d o
(g u ita r
hpschd.)

"La noche esp o lea


sus negros ij a r e s
clavandose e s t r e l la s ."
drumming p a ttern s
(c r o ta le s , tom toms
tambourine, cb. lujon)

"largo"

"y e l cuerno"
Cb. tremolo g lissa n d o

A bbreviations:

glissando
(g u ita r , hpschd.)

in c is iv e g u ita r
figure

hpschd. - harpsichord
ch.
- contrabass
pno.
- piano

"iDonde .lle v a s tu j in e t e muerto?"

g ls p . - g lo ck en sp iel
vbph. - vibraphone
g u it. - gu itar

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

"Caballito negro
i Donde lle v a s tu j in e t e
muerto?"
glissando
(hspchd. vbph.)

r e p e titiv e in t e n v a lllc
p atterns
(hpschd., c b . , g u itar)
"Caballito f r io
|Que perfume de f l o r de
cu ch illo!"

glissando
(gu itar g ls p .)

r e p e titiv e in t e r v a llic
p atterns (hpschd., c b . , guitar)

"En l a luna negra sangraba


el costado de S ierra Morena."

"Caballito negro. Sonde


ille v a s tu j in e t e muerto?"

drumming, g u ita r
fig u res, hpschd.
chords

r e p e titiv e in t e r v a l li c
patterns (cb. hpschd.
g u it.)

glissando
(hpschd., g ls p .)

"Caballito fr io
Que perfume de f lo r de cu ch illo !" ,
En l a luna negra,

|
|
[
\
'

r e p e titiv e
I n te r v a llic
patterns

",un g rito!"

'Cadenza appassionata'
' (two drummers)

clim a ctic chord

i
r

!
|
[

ahort
r e p e titiv e
pattern

"de la hoguera."

" ca b a llito negro."

*
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

SONG OF THE RIDER, 1860


In t h e b la c k moori,
o f t h e highwaymen
the s p u rs s in g .
L i t t l e b la c k h o rs e .
W hither w ith your dead r i d e r ?
. . . The h a rd sp u rs
o f t h e m o tio n le s s b a n d it
who l o s t h i s r e i n s .
L i t t l e c o ld h o rs e .
What a s c e n t of th e flo w er
o f a kniffe!
In t h e b la c k moon
b le d th e m ou n tain sid e
o f S i e r r a Morena.
L i t t l e b la c k h o rs e .
W hither w ith your dead r i d e r ?
/ ' '
The n i g h t sp u rs
i t s b la c k fla n k s
*
p i e r c in g w ith s t a r s .
L i t t l e c o ld h o r s e .
What a s c e n t of th e flo w er
o f a knife*. .
*
In t h e b la c k mooft,
a s h r i e k ! and t h e long
horn o f th e b o n fire ..
L i t t l e b la c k h o r s e .
W hither w ith yo u r dead r i d e r ?

\
\

T r a n s la tio n by
^Stepljan Spender and
J .L . G ili

t
(

'

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25

m y stery and s u b j a c e n t v io le n c e of th e poem, in a v e ry s t r a i g h t


forw ard word p a i n t i n g which can be h e a rd i n a d r iv in g rh y th m ic
p u ls a tio n ( th e drumming p a tt e r n s im m ita tiv e o f th e h o r s e 's
<r

g a llo p ) d e v e lo p in g th ro u g h a wide sp e c tru m o f p e rc u s s iv e


tim b r e s .

S im ila r ly obvious im m ita tio n s a r e made by th e

b a r ito n e o f t h e h o rs e s n e ig h in g and t h e 's c re a m ' ( l i n e 122 o f


th e t e x t ) .

One p a r t i c u l a r l y s t r i k i n g e f f e c t in t h i s p ie c e

which can be d i r e c t l y r e l a t e d to th e im agery o f th e t e x t i s


a r e c u r r e n t h ig h and i n c i s i v e a tt a c k
o f th e 'p i e r c i n g k n i f e ' im age.

in

th e g u i t a r s u g g e s tiv e

The 'p i e r c i n g ' f i g u r e a r i s e s

s i m i l a r l y in t h e su b se q u e n t song, t a s s i d a o f th e Boy W oundedby


the^ Water* in a s s o c i a t i o n w ith " h is h e a r t p ie r c e d th ro u g h by
th e d a rk t h r u s t o f w a te r ."
^

Again, in t h i s p ie c e , th e r e f l e c t i o n

o f L o rc a 's im agery 4-s f e l t q u i te d i r e c t l y in both a type o f \


m u sic a l 'w a t e r ' image (a slo w ly o s c i l l a t i n g le g a to f ig u r e ) w iic h
p e rv a d es th e o p e n in g t e x t u r e , and iq. th e e v o c a tio n o f th e
'w in d 'a n d 'n o c t u r n a l murmurs' o f t h e t e x t i n w h isp e re d speech
and w h isp e red m elody.

'

q
In a d d it i o n to th e i o n i c e la b o r a t i o n o f L o r c a 's im agery,
th e r e i s a n o t i c e a b l e r e f l e c t i o n o f t h e c y c l i c form of"C an cio n
de J i n e t e " i n t h e accom panying and i n c i d e n t a l m usic.

The lo n g

*
|

range p e rio d s d e fin e d in th e t e x t by th e r e p e t i t i o n o f key .

|
s
i

p h ra s e s and im ages i s a ls o se en i n C ru m b 's, r e - i t e r a t i o n o f


*
m u sic a l m a t e r i a l s . The se n se o f a r e p e a t i n g m e d ita tiv e rhythm
( Tj

w hich seems t o c o n tr o l th e a p p e a ra n c e o f th e v a rio u s p o e tic

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i
26

and m u sical im ages, a ls o c r e a te s a n o th e r im p o rta n t e f f e c t in


t h i s passage i n th e im m ediate p r e d i c t a b i l i t y which a r i s e s
w ith in th e re p e a te d m a te ria l..

S u b tle changes in th e t e x t

( t a t t l e b la c k h o r s e ' becoming 'L i t t l e c o ld h o r s e .1' and


d e v ia tio n s in Crum b's m u sical images (a p p a re n t m o stly in
changes o f in s tru m e n ta tio n o r in th e i n c l u s i o n

o f a d d itio n a l

e f f e c ts ) c r e a t e i n t e r e s t in d e t a i l of th e m a te r ia l a s the l a r g e r
rhythm u n fo ld s .

One f u r t h e r a s p e c t o f th e d e v ia tio n in th e

r e c u r r e n t m a te r ia ls o f t h i s passage i s th e g rad u a l d ram atic


and dynamic developm ent which rea ch e s a clim ax in th e 'c a d e n z a
a p p a s io n a ta ' and th e chord a t ",'un g r i t o ! " and which d ie s away
in a s e r ie s o f i s o l a t e d p ia n iss im o p h ra s e s and g e s tu r e s .
This p a r t i c u l a r elem ent of Crumb's m usic w i l l be d is c u s s e d
l a t e r in more d e t a i l .

In a d d it i o n to th e in flu e n c e of L o r c a 's p o e tr y , an
im p o rta n t m u sica l p re c e d e n t fo r th e 's tr e a m o f c o n s c io u s n e s s '
elem ent o f Crum b's s t y l e can be seen i n th e music o f C h arles
Iv e s.

R o sa lie P e rry , in C h a rle s Iv es and th e American Mind^5

r e l a t e s t h e stre a m o f c o n scio u sn ess s t y l e in Ives to th e


in flu e n c e o f t h e American t r a n s c e n d e n t # l i s t l i t e r a r y t r a d i t i o n
(Thoreejtr; Emerson and Whitman) and th e a n a l y ti c i n t e r e s t in
th e su b co n scio u s and memory which grew

o u t o f th e w r itin g s

.49

of F reud, W illiam James and C arl Jung.

( )

15.

She q i t e s th e fo llo w in g

See pages 40 - 55 in p a r t i c u l a r .

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27

xa s ,'th e to p ic a l 's tr e a m o f c o n s c io u s n e s s ' idiom s of Iv e s :


the u se o f tu n e s o r e f f e c t s f o r which l i s t e n e r s would, have
s p e c i f i c a s s o c ia tio n s o r mem ories, th e c o n t r a s t betw een
m e tric and n o n -m e tric rhythm ic o rg a n iz a tio n , r h e t o r i c a l
d e v ic e s s ig n if y in g d i f f e r e n t p s y c h o lo g ic a l s t a t e s , th e
sim ultaneous r e p r e s e n ta tio n o f d iv e rs e e le m e n ts in a c o n tin u
ous complex o f sound, a s th e use of t h e a t r i c o r program m atic
su g g e stio n s a s p a r t o f the g e n e ra l c o n c e p tio n and form of
a work.
i
V i r t u a l ly a l l o f th e se g e n e ra l featu ^tes a re to be found
in Crumb's m u sic.

As a lre a d y m entioned, he use o f q u o ta tio n


\
and m a te r ia ls which have c le a r l y u n d e rsto o d c o n n o ta tic ^ s
i s an im p o rta n t p a r t o f the sense of sym bolic p sy c h o lo g ic a l
r e p r e s e n ta tio n i n Crumb's m usic.

S im ila r ly th e c o n tr a s t o f

m e tric and n o n m etric rhythm ic o rg a n iz a tio n s and s u p e r p o s itio n s


of a d i v e r s i t y o f m a te r ia l i n a type o f 'm ontage' can be
i n te r p r e te d in Crum b's music as in I v e s ' as r e p r e s e n ta tio n s
o f d i f f e r e n t p sy c h o lo g ic a l s t a t e s o f a w are n ess.
q u ite s t r a ig h tf o r w a r d .

T h is i s a g a in

In Crumb's m u sic , f o r \jexample,

d i f f e r e n t e m o tio n a l c h a r a c te r s ( lik e 'm ec h an ic o ' o r 'w ith a


se n se o f d e s t i n y ') which can only be re p r e s e n te d in m e tric
n o ta tio n a re o f te n ju x ta p p o se d w ith t y p i c a l l y nonm etric
c h a r a c te r s .

( i . e . spontaneous o u tp o u rin g s o f fre n z ie d

em otion o r th e slow and f l o a t i n g dream l ik e e v o c a tio n s


where one e v e n t seems to flow f r e e ly one i n t o the n e x t) .

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28

The' c o n t r a s t in C rum b's music o f p a ssa g es o f a sim ple


su c c e ss io n of e v e n ts w ith th o se which c o n s i s t o f a complex
o f superim posed e v e n ts may a lso have a ' stre a m o f c o n sc io u s
n e s s ' s ig n if ic a n c e as r e p r e s e n ta tio n s o f sim ple l i n e a r and
expanded, complex se n se s o f aw areness.

A d d itio n a lly , in

much of Crumb's m u sic, th e r e i s an u n d e rly in g d ra m a tiz a tio n


\

in the i n t e r a c t i o n of th e p e rfo rm ers and th e su c c e ss io n o f


v a rio u s p s y c h o lo g ic a l and e m o tio n al s t a t e s .

T his emerges

o v e rtly i n spoken frag m e n ts, and in the i n te g r a t i o n of sim ple


t h e a t r i c g e s tu re s in to th e w o r k .^

Night o f Four Moons ( f o r

a l t o , a l t o f l u t e , b a n jo , 'c e l l o and p e rc u s s io n ) and A ncien t


Voices o f C h ild re n a re two good exam ples o f t h i s
f e a tu r e .

la tte r

In each c a s e , a modest t h e a t r i c g e s tu r e o ccu rs a t

the end o f the w ork, b u t a c q u ire s i n t e r e s t i n g sym bolic meaning


from p rev io u sly , im p lie d m usical d ram atic r e l a t i o n s h i p between
p la y e rs o f th e ensem ble.

In A n cien t V oices o f C h ild re n , the

soprano on sta g e i s jo in e d by th e boy so p ra n o who f i n a l l y


emerges from h is p o s itio n b a c k sta g e , s u g g e s tiv e of a m other
being jo in e d by h e r c h i l d .

In N ight o f Four Moons a l l p la y e rs

e x ce p t th e 'c e l l o e x i t one by o n e , s t r i k i n g as th ey le a v e ,
an a n tiq u e cymbal which i s i d e n t i c a l in p i tc h t o a h ig h note

16.The example o f an u n d e rly in g t h e a t r i c i z a t i o n in I v e s '


m usic to w hich P e rry draws p a r t i c u l a r a t t e n t i o n i s th e
Second S tr in g Q u a r te t, b u t an i n t e r e s t i n g c o n tin u a tio n o f t h i s
s t y l i s t i c elem en t o f American c o m p o sitio n which b rid g e s th e
gap betw een Iv e s and Crumb and h i s c o n te m p o ra rie s can be
seen in th e m usic o f E l l i o t C a r te r and i n p a r t i c u l a r h i s
Second S tr in g Q u a r te t.

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

s u s ta in e d by th e 'c e l l o .

*
The d e p a rte d p la y e r s th e n p la y

a type o f M ahlerian lu lla b y e ('M u sica Humana1) which a l t e r n a t e s


w ith th e 'c e l l o 's e e r i e modal g lis s a n d o melody- ('M u sica
y

M undana').

Crumbs own d e s c r i p t i o n of th e en d in g o f N ig h t ,

o f Four Moons i s w orth n o tin g .


"The e p ilo g u e o f th e song (Through th e
sky goes th e moon/ h o ld in g a c h i l d by th e
hand") was con ceiv ed a s a s im u lta n e ity o f
two m u sic s: "Musica Mundana" '("M usic o f the
Spheres") and "Musica HumanaV-f*Music o f
Mankind") perform ed o f f s ta g e by th e s i n g e r ,
a lt o f l u t e , v ib rap h o n e and b a n jo . The o f f
sta g e m usic i s to emerge and fa d e l i k e a
d i s t a n t r a d io s ig n a l. The F# t o n a l i t y o f
the "M usica Humana" and th e t h e a t r i c g e s tu re
o f th e p re c e e d in g p r o c e s s io n a ls r e c a l l s th e
c o n c lu d in g ^ a g e s of H aydn's "F a re w e ll"
Symphony?
v

I t should be s t r e s s e d , how ever, t h a t \ t h e 's tr e a m o f


c o n s c io u s n e s s ' idiom does n o t dom inate t h e s ig n if ic a n c e o f
Crumb's m usic.

I t is

r a r e t h a t a n y th in g m o re \th a n an

i s o l a t e d program m atic meaning i s to be found in Crumb's


m usic i n r e l a t i o n to e i t h e r th e t h e a t r i c g e s tu r e s or tT
su c c e s s io n o f d i f f e r e n t e p is o d e s w ith in a work.

As w i l l be''

seen l a t e r in more d e t a i l , one o f th e c e n t r a l f e a tu r e s o f


Crum b's s t y l e i s h i s co m b in atio n o f th e s e e le m e n ts of 's tre a m
o f c o n s c io u s n e s s ' w ith th e im p lic a tio n o f a b s t r a c t ,
form al o r g a n iz a tio n .

The i n t e g r a t i o n o f a g r e a t d i v e r s i t y o f m a te r ia l w ith in
/ \
'

17.

George Qrumb, ffiight o f Four Moons (New, Y ork, Columbia


1974, M -32739) , n o te s on re c o rd c o v e r .

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30

one form can a ls o be un d ersto o d as a g e n e ra l s t y l i s t i c


tendency in th e developm ent o f w estern a r t m usic.

In

commenting on a rem ark made to him by G rpsvenor Cooper,


Leonard Meyer n o tes th e s ig n if ic a n c e o f th e communication'
o f a type of a b s t r a c t/ 'a ll - e m b r a c i n g o r 1m onum ental
s t y l i s t i c image in w e ste rn m usic.
" As my c o lle a g u e Grosvenor Cooper h a s
4
p o in te d o u t , one o f th e s a l i e n t ideas, of
Western c u lt u r e and a h allm ark o f , '
" g re a tn e s s " in W estern a r t a t le a s ts s in c e
th e R e n aissan c e, has been t h a t o f m onum entality.
To c a p tu re and communicate a se n se o f fhe
scope and m agnitude o f c r e a tio n - the v a r ie ty
and f t u l t i p l i c i t y o f th in g s', composers as w e ll as
a rtis ts and w r i t e r s have found i t a p p ro p ria te
to b rin g to g e th e r a w ealth of d iv e rs e m a te r ia ls ,
o fte n p la c in g th e s e in sudden and v io le n t s ,
ju x ta p o s itio n . (One need only th in k o f a
Bach P a ss io n , a Beethoven symphony,, o r a
p la y by S h ak e sp ea re.) One w ay-of combining
and u n itin g c o n tr a s tin g id e a s i n t o a c o h eren t
w hole, r e c o n c ilin g seem ingly in c o m p a tib le
e v e n ts , i s to subsume them on some h ig h e r
o rd e r - t o embody them w ith in a h i e r a r c h i c a l
s t r u c t u r e ."
v

The type o f m u sical 'm o n u m en tality ' which Meyer d e s c rib e s


and which elsew h ere Joan Kunselman-Cordejs has shown to be
a very prom inent f e a tu r e in contem porary American avant19
garde music
i s c l e a r l y r e f l e c t e d in Crumb's n o te s for*.the
c o rd in g o f A n cien t V oipes of C h ild re n .

18.

Leonard Meyer, "Mugic, th e A rts, and Id e a s (C hicago,


U n iv e rs ity o f C h i c a ^ P r e s s , 19.67) , p . 312-313.

19.
c

Joari Kunselman-Cordes in h e t - 4 i s s e r t a t i o n "A New


Development i n American Music i^rSpme c h a r a c t e r i s t i c '
f e a tu r e s e x te n d in g from th e leg acy o f C h a rle s I v e s , in '
t h i s t h e s i s , the a u th o r d is c u s s e s in d e t a i l th e elem ent o f
"m onunientality" found i n I v e 's m usic and how t h i s i s

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

31

" In composing A n c ien t V oices o f C h ild re n ,


I was co n scio u s o f an urge t o fu s e v a rio u s
u n r e la te d s t y l i s t i c e le m e n ts . I was i n tr i g u e d
w ith the id e a o f ju x ta p o sin g th e seem ingly
in co n g ru o u s: a s u g g e stio n o f Flamenco w ith a
, Baroque q u o t a t i o n . . . . o r a rem in isc e n c e o f
M ahler w ith a b r e a th o f th e O r ie n t. I t l a t e r
o c c u rre d t o me t h a t b o th Bach and M ahler
drew upon many d is p a ra te ' so u rc e s in t h e i r own 2q
m usic w ith o u t s a c r i f i c i n g " s t y l i s t i c p u r i t y " .
Turning now to some o f th e more d e t a i l e d f e a tu r e s _ o f
' Crum b's m u s ic a l'la n g u a g e , i t is , c o n v e n ie n t to d is c u s s
form al p a tte r n in g i n
l e v e ls o f a n a ly s is :

h i s s t y l e in term s o f th r e e t r a d i t i o n a l
'd e t a i l '

(th e s h o r t e s t p e rc e iv a b le

ele m e n ts o f meaning) , in te r m e d ia te s y n t a c t ic form s (o f which


th e r e may be many, depending on th e le n g th and co m p lex ity o f
th e music) and long rcpge p a tte r n s o r f o r m s '( th e g e n e ra l u n ity
o v e r a whole c o m p o s itio n ). These th re e ^ le v e ls w i l l s e rv e h e re
*

1 '

>

a s . a g e n e ra l b a s is f o r a d e s c r ip tio n o f Crum b's m usic, and


th e p r i n c i p l e s of o r g a n iz a tio n which' would a p p ear to c o n s t i t u t e
a ty p e o f 'm u sic a l la n g u a g e '. ' The. a n a ly s is ofa m u sical tim e '
_

* *

in t h i s stu d y w ill alg'o b e concerned w ith th e i n t e r a c t i o n and


e f f e c t o f th e s e l e v e ls o f p a tt e r n i n g , and how th e y c o n tr ib u te
a lo n g w ith t h e e x tr a -m u s ic a l elem en ts which have j u s t been
. -d isc u sse d , i n th e g e n e r a l m u sical image.

'

The o rg a n iz a tio n o f d e t a i l in Crum b's m usic i s g e n e r a lly


a s s im ila te d i n th e s t y l e s o f s e v e r a l p ro m in en t contem porary
lUnerican composers' in c lu d in g Crumb.
20.

( ':

George 6ruimb, A n c ie n t Voices" o f C h ild r e n , (New York,


Nonsuch Records,. 1971,
312S5) . n o te s on re c o rd c o v e r.

. ' " \ -
w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

32

'

accom plished through t h e com bination o f s h o r t rh y th m ic ,


and harm onic g e s tu re s i n t o lo n g e r sequences o r com plexes.
In t h i s

s e n se , Crumb's c o n tr o l o f th e b a s ic c o m p o sitio n a l

elem en ts 9f harm onic and m elodic c o n tin u ity b e a rs a n o tic e


ab le s im ila r y to t h a t o f th e e a r ly f r e e a to n a l s t y l e s of
Schoenberg and Webern.
"As in s e v e r a l o f my o th e r w orks, th e
m u sical f a b r i c of (Music f o r a ) Summer Evening
r e s u l t s l a r g e l y from th e e la b o r a tio n o f t i n y
c e l l s in to a so^rt o f m osaic d e sig n . T his tim e
hallow ed te c h n iq u e seems to fu n c tio n in much
new music i r r e s p e c t i v e o f s t y l e as a prim ary
s t r u c t u r a l modus."
The r o l e o f t h i s a s p e c t in Crumb's m u sica l language
in t h e e f f e c t o f h is m usic can be s tu d ie d v ery c l e a r l y in
^

an a n a ly s is o f one o f h i s s h o r t e r p ie c e s .
l l u v i a , y Be han dorm ido."

"No p ie n sa n en l a

(M ag rig a ls, B k .l, number two)

i s a - p a r t i c u l a r l y good p ie c e fo r t h i s purpose because i t


d e m o n strates the com bination o f th e sm all c e l l u l a r u n its
o r g e s tu r e s in to both lo n g e r sequences and com plexes.

(See

sc o re on pages 33 and 3 4 ).
V
<

The n a tu re o | th e rhythm ic o rg a n iz a tio n in "No p ie n s a m ..


i s q u ite f r e e and s tr a ig h tf o r w a r d .
*

The o pening c r i s t a l i n o
c

'in to n a tio n * and th e 'm o lto d e l i c a t o ' c o n s is t v e ry sim ply


o f seq u en ces o f a r t i c u l a t e d g e s t u r e s , i . e . th e long s y l l a b i c
^
C"}

ch o rd s o f th e in to n a t io n , th e r a in d r o p - lik e s t a c c a t o p itc h e s
,21.

George Crumb, M usic f o r a Summer E vening, (New York,


Nonsuch R ecords, 197S,
71311), n o te s on th e r e c o rd
C over, .

w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

exam ple

i:
tslo piensan en la lluvia, y se han dormido
[They do not think of the rain, and they've fallen asleep)
M olto J e l i t a t o

e a 6+]

w . r
if

7\ y \

v "
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iv

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ilu -

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CsittnWu

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fiSMTMlU

.( U J

PP*'*'

l ln

P F P P q l a| f

Rain-death music I.
Tempo o4olytament m etronom tcoj

deltcnfiiS lm o

SlfTtW

[ A flo)

rt|(0 n < ^ r f />** * rifjrv^)

VtVriptw*J

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(Wv)

pppp

MM

CortlrttatJ
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f w
) V iW tp to n t W * f * r |
p l ft
ftlr,V j ' i t f
N iiiK l (m I m ic Ii I

p r J c < 4 bjr p U c i* * I li f* r /, r hfkH y


I

r ts < l i t r e

# ?

t i l l t u r < * ic

fr _ r -if

vr^ u u h r o f
|t 4 n

k ifk lr

ut
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o f H u V<Wp m Vm i* Hil {>* o f H #


p

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pi

r |r

iJL .

9 *#

34

u -5
"O i

i
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w ith o u t perm ission.

35

(form ing o v e rla p p in g e c h o - lik e i n t e r v a l l i c p a t t e r n s betw een


th e so p ran o and v ib rap h o n e) and th e s e r i e s of v ib ra p h o n e
(and c o n tra b a s s ) a r p e g g i a t i o n s .

'Rain D eath Music i 'p r e s e n t s

a com plex o f r a i n d r o p - l ik e a c t i v i t y which f.orms a g ra d u a l


r i s e and f a l l in h d m u ^ ic and rh y th m ic d e n s ity and re c e d e s
in to t h e sim p le r t e x tu r e w ith th e e n tr a n c e o f th e so p ra n o .
&

c e r t a i n s t r u c t u r a l la y e r in g o f rhythm s and tempos can be


o b se rv e d h p re w ith o s te n a to rhythm s ( in synchronous f i v e
s i x t e e n th and f o u r s ix te e n th m easures) in th e c o n tra b a s s
and v ib ra p h d h e ( l e f t h a n d ), b u t w ith th e f r e e o c c u rra n c e o f
s h o r t s t a c a t t o g e s tu r e s in s e x t u p l e t

rhythm (v ib rap h o n e r i g h t

hand) th e g e n e ra l e f f e c t i s t h a t o f a s in g le s h o r t com plex


,

o f a c t i v i t y from which c e r t a i n s h o r t i s o l a t e d g e s tu r e s w i l l
m o m en tarily p r o tr u d e .

The red u c ed t e x t u r e a t th e end of

'R ain -D eath Music I 1c r e a te s a se n se o f r e t u r n t o th e s i m p l i s t i c


I

s u c c e s s io n o f g e s tu r e s i . e . , t h e s t a c a t t o r a i n - d r o p - l i k e
f i g u r e s , th e s h o r t m elodic o rn a m e n ta tio n on 'l l u v i a * and th e
s

v ib rap h o n e and c o n tra b a s s a r p e g g ia tio n s (which s u g g e s t a s h o r t


r e c a l l o f th e more e x te n d ed t e x t u r e o f 'R a in - d e a th M usic I 1, b u t
fad e i n t o a l e g a t t o a r t i c u l a t i o n w ith th e m elodic r e t u r n o f
th e so p ra n o on 'e n la l l u v i i a ' ) .

'L ik e R ain-D eath M usic i',

k a in -D e a th Music I I 1p r e s e n ts a 'r a in d r o p com plex' w hich


\
g r a d u a l] ^ b u ild s i n d e n s ity and r e c e d e s le a v in g th e so p ran o
unaccom panied f o r th e f i n a l 'y se hem dorm ido' .

In t h i s p a ssa g e

as w e ll a s i n th e p re c e e d in g 'M olto d e l i c a t o ' a n d 'R a in -D e a th

C)

Music I 1, th e t e x t has an im p o rta n t r o l e i n th e g e n e r a l rhyth m ic

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

and m elo d ic o r g a n iz a tio n s in c e w ith th e e x e p tio n o f th e o rn a


m ent on ' l l u v i a ' , i t i s t r e a t e d s y l l a b i c a l l y and c r e a t e s
m elodic g ro u p in g i n acco rd an ce w ith i t s n a t u r a l a r t i c u l a t i o n
and i n t o n a t i o n .

The i n t e r e s t i n g f e a tu r e s which 'R ain -D eath

I I 1 adds to th e g e n e ra l rh y th m ic developm ent is th e a c c e l e r a te d


a c tiv ity

120) and th e s e n se o f rh y th m ic p u l s a t i o n ,

p e rh a p s a s i f i t had begun to r a i n s t e a d i l y as t h e p ie c e
comes t o a c lo s e .

In lo o k in g a t th e harm onic and m elo d ic s t r u c t u r e o f th e


r

m u sic, i t i s p o s s ib le to see a c o n tr o l o f i n t e r v a l l i c te n s io n
w hich h a s a s i g n i f i c a n t e f f e c t i n th e s u c c e s s io n o f in d iv i d u a l
e v e n ts w ith in th e p ie c e .

W ith in th e g e n e r a l rhythm ic s t r u c t u r e

c e r t a i n common a to n a l i n t e r v a l l i c g ro u p in g s are made t o


predom iihite a t d i f f e r e n t p o i n t s .

The f i r s t two o f th e opening

' c r i s t a l i n o ' c h o rd s , (F-F#-G-G# and B-C-C#-D) f o r exam ple,


c o n ta in an e q u a l predom inance o f th e sem itone betw een p i t c h e s .
b
The t h i r d ch o rd o f th e s e r i e s (A-B -D-D#E) i s s i m i l a r m i t s
se m ito n e c o n te n t, b u t i s d i f f e r e n i a t e d h a rm o n ic a lly from th e
f i r s t two ch o rd s by th e p re s e n c e o f th e i n t e r v a l s o f t h e
trito n e

and p e r f e c t f o u r th .

22

A lthough th e a n a l y s i s o f

22.

I t m ust be a d m itte d t h a t t h e e f f e c t o f th e s p a c in g o f
a ch o rd has a c o n s id e r a b le e f f e c t in th e g e n e r a l harm onic
t e n s io n . P itc h groups in c lo s e p o s i t io n o r compact p o s i t i o n
w i l l n o t have th e same a u r a l e f f e c t a s i f th e y a r e d if f u s e d
o v e r a w id e r r e g i s t e r . In t h i s d is c u s s i o n , a g e n e r a l e q u i
v a le n c e i s assumed betw een p rim a ry i n t e r v a l s , (u n is o n , se co n d s,
t h i r d s , f o u r t h s , and t r i t o n e ) and t h e i r in v e r s io n s in o r d e r
n o t to become to o c a u g h t up i n a c o u s tic d e t a i l , b u t a t th e
same tim e , t o e s t a b l i s h an i n t u i t i v e l y re a s o n a b le b a s i s

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37

v e r t i c a l and h o r i z o n t a l i n t e r v a l l i c te n s io n i s n o t as sim p le
i n th e f o llo w in g more r h y th m ic a lly c o m p lic a te d p a s s a g e s , i t
i s s t i l l e n t i r e l y p o s s ib le to d i s t i n g u i s h a u r a l g ro u p in g s
(d e te rm in e d by a d ja c e n t p i tc h e s i n m elodic g e s t u r e s , o r i n
some c a s e s by th e p i tc h e s on th e in d iv id u a l s y l l a b l e s o f th e
t e x t ) w hich re p e a te d ly em phasize c e r t a i n i n t e r v a l r e l a t i o n s .
The 'm o lto d e l i c a t o ' s e c t i o n , f o r exam ple, b e g in s w ith a
g ro u p in g (B-C-C#) which f e a t u r e s th e se m i-to n e r e l a t i o n .
S u b seq u en t g ro u p in g s, th e B -E-A-D# (G# c o u ld a ls o be in c lu d e d )
a t 'p ie n s a m ' th e C-F#-B-E# a t ' l a l l u v i a ' and th e two
a r p e g g ia tio n s E-B-D#-A-D and F-B-E-Al-D# a l l combine th e
t r i t o n e and sem itone in s t r u c t u r e s which a re i d e n t i c a l t o b o th
th e t h i r d chord o f th e o pening i n to n a t i o n and th e m elo d ic
c o n to u r i n th e soprano w hich i s o u t l i n e d by a l l o f th e t h r e e
23
ch o rd s o f t h i s se q u e n c e .
I t i s w orth n o tin g t h a t t h i s s u b tle

f o r d e s c r ib in g th e s u c c e s s io n o f th e b a s ic m u sic a l m a t e r i a l .
A s i m i l a r type o f harm onic a n a l y s i s has a lr e a d y been p ro p o se d
by Eugene Narmour in Beyond Schenkerism (see pages 158-162)
w here th e v e r t i c a l i n t e r v a l l i c c o n te n t i s n o te d in d e t a i l and
d is c u s s e d i n term s o f m u sic a l tim e , as harm onic p ro c e s s o r
movement from r e l a t i v e consonance to r e l a t i v e d is s o n a n c e .
23.

f
!
ie
I
i
\
,
^ -

In t h e i n t e r e s t o f a v o id in g an o v e rly s t r u c t u r a l ap p ro
to t h e m u sical form , a d e t a i l e d s e t t h e o r e t i c a n a l y s i s
.
w i l l n o t be p re s e n te d h e r e . I t sh o u ld be n o te d t h a t th e
p r i n c i p a l i n t e r v a l l i c g ro u p in g s i s o l a t e d in t h i s d i s c u s s i o n
r e f e f to a number o f p o s s ib le s e t form s. The 's e m ito n e ' group
in g s in w hich th e r e i s a predom inance o f th e se m ito n e , an d
t o a l e s s o r e x te n t, t h e w hole t o n e , r e f e r to g ro u p s l i k e
B-C-C#, o r B-C-CI-D o r t r a n s p o s i t i o n s o f them . The 's e m ito n e
p lu s t r i t o n e ' g ro u p in g s r e f e r t o any groups form ed by th e
a l t e r n a t e s u p e r p o s itio n o f t r i t o n e s and f o u r th s o r t r i t o n e s
and f i f t h s such a sbC-G-C#, C-G-C#-G#, C-G-C#-G#-D o r C -F-B ,
C -P-B-E, C -F-B -E - b . Here th e r e i s a more o r l e s s e q u a l
" predom inance o f th e se m ito n e , t r i t o n e and f o u r th o r f i f t h .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

38

coherence i n the i n t e r v a l l i c te n s io n is c o n tr a d ic te d in two


p la c e s

in t h i s s e c tio n w ith i n t e r e s t i n g e f f e c t s .

The r e p e t i

t io n o f t h e E#-G# c r e a te s a d e v ia tio n in harm onic c o lo r a ti o n


I

from predom inance o f Sem itone and t r i t o n e ' , as does t o a c e r t a i n


e x te n t, th e m ajor t h i r d of th e v ib rap h o n e a rp e g g ia tio n s (A-G#C- F#-E#) b e fo re th e b e g in n in g of 'R a in -D eath M u s i c .I '.

W hile th e semitone* gro u p in g s and 1sem itone p lu s t r i t o n e


g roupings may be found in th e op en in g o f 'R ain-D eath Music
I*, (in th e p itc h e s of th e c o n tr a b a s s o s te n a to , and in
numerous ways in th e v ib rap h o n e p a t t e r n s th ey a re sp re a d o v e r
a v e ry wide r e g i s t e r aJhd witt^i s u p e r p o s itio n o f th e v a rio u s
p a t t e r n s , no re c o g n iz a b le harm onic te n s io n is h e a rd u n t i l
th e t e x t u r e th in s o u t.

With th e r e - e n tr a n c e o f the so p ra n o

and th e t e x t , th e superim posed 's e m ito n e p lu s t r i t o n e 1


te n s io n r e t u r n s (same p i t c h c o n te n t as i n th e pppp v ib ra p h o n e
a r p e g g ia tio n o f th e p re c e e d in g s e c t i o n , b u t somewhat d i f f e r e n t
r e g i s t r a t i o n ) and i s a g a in f u l l y e v id e n t in t h e v ib rap h o n e
and c o n tra b a s s a r p e g g ia tio n s , and s h o r t soprano r e i t e r a t i o n
b e fo re th e ornam ent on ' l l u v i a ' .
i
The so p ra n o o rn a m e n ta tio n o n ^ V llu v ia 1 in 'R ain-D eath Music
I* a c c e n tu a te s a typie o f w h o le -to n e r e l a t i o n s h i p betw een
p itc h e s (A-G-C# and DC-F# would b e m elodic f ig u r e s w ith in
d i f f e r e n t whole to n e s c a le s )

and a s such c o n s t i t u t e s a mom-

e n ta r y harm onic c o lo r a ti o n , which s u g g e s ts som ething o f t h e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

39

sp o n tan eo u s A ndalision

'c a n t o * .

The c o l o r i s t i c and e v o c a tiv e

a s p e c t o f Crum b's c o n tr o l o f harmony and p i tc h o r g a n iz a tio n


becomes more pronounced i n l a t e r w orks (Lux A e te rn a , B lack
A n g e ls, and th e Makrokosmos Volumes I , I I , and I I I ) where
th e r e is a l a r g e r s c a le m o n u m en talist o r g a n iz a tio n o f .to n a l
c o n n o ta tio n s .

The r e i t e r a t i o n of th e c r i s t a l i n o 'i n t o n a t i o n ' i s in


th e f i r s t two c h o rd s, i d e n t i c a l in harm onic te n s io n to th e
o pening b u t i n a

more com pact s p a c in g .

The t h i r d c h o rd , i n

a d d itio n to o c c u rrin g on a d i f f e r e n t s y l l a b l e a ls o p r e s e n ts
"A
a very s l i g h t harm onic d e v ia tio n in t h a t th e c o n tra b a s s
A
harm onic
does n o t f i t i n to th e 'sem itone p lu s t r i t o n e '
g ro u p in g o f th e o th e r p i tc h e s . A lth o u g h 'R ain -D eath Music I I '
i s v ery a c t i v e and h a rm o n ic a lly u n s ta b le , i t i s s t i l l p o s s ib le
t o see a p r o g r e s s io n from harm onic g ro u p in g s which em phasize
th e sem itone (G#A-Bb , B-C-C#, G-F#-F e t c . ) <o th o s e w hich
in v o lv e th e 's e m ito n e p l u s ; t r i t o n e ' s t r u c t u r e .

As in 'R ain-

Death Music I', t h i s l a t t e r i n t e r v a l l i c grouping p red o m in ates


i n th e m elo d ic l i n e .

In a d d itio n t o th e tra n s p o s e d r e c u rre n c e o f c e r t a i n


i n t e r v a l l i c g ro u p in g s, th e r e i s a d i s t i n c t l y n o tic e a b le
re c u r re n c e o f the t r i t o n e b - p i n th e high r e g i s t e r o f th e
v ib rap h o n e w hich le n d s a s l i g h t s u g g e s tio n of to n a l 'r e t u r n '
o r p a tte rn in g .

The p o in ts a t which t h i s p a r t i c u l a r i n t e r v a l

}
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

'

40

i
~P

ai%d r e g i s t r a t i o n o c cu r a r e a ls o f a i r l y s i g n i f i c a n t in term s
o f th e g e n e r a l form and g e s t u r e t o f t h e p ie c e , namely i n th e
a r p e g g ia tio n a t th e c lo s e of t h e 'm o lto d e l i c a t o ' s e c tio n anda t th e end o f th e 'r a i n d ro p ' com plex

o f 'R ain-D eath Music I '

and in a s i m i l a r p o s i t io n tow ard th e end o f 'R ain-D eath


Music I I '.

From t h i s v ery b r i e f d is c u s s io n o f Crum b's tre a tm e n t


o f th e t r a d i t i o n a l ' c o m p o s itio n a l e le m e n ts o f i n t e r v a l l i c
t e n s i o n , i t c an be seen t h a t t h e t r a n s p o s i t i o n o f sm a ll c e l l u l a r
u n i t s p ro v id e s a f e a tu r e o f im m ediate "low l e v e l" co herence
and d i f f e r e n t i a t i o n in t h e s u c c e s s io n o f in d iv id u a l rh y th m ic
^

g e s tu re s .

The long range r e p e tiv e form o f th e p ie c e i s r e f l e c

t e d o n ly to a lim i te d e x te n t i n d e t a i l s o f p itc h and harm onic


te n s io n , i . e . ,

th e i n t e r v a l l i c s i m i l a r i t i e s in t h e d i f f e r e n t

s ta te m e n ts in th e t e x t , i n th e 'c r i s t a l i n o ' in to n a tio n and


i n th e re c u r r e n c e o f th e high r e g i s t e r
t h r e e m ajo r p a s s a g e s .

in e ac h o f th e

The ty p e o f p a t t e r n i n g t h a t d om inates

t h e im m ediate su c c e s s io n o f g e s tu r e s in t h is ^ p i e c e and
g e n e r a l l y i n C rum b's c e l l u l a r i n t e r v a l l i c o r g a n iz a tio n
i s e s s e n t i a l l y one o f harm onic c o lo r a t i o n i n which a c e r t a i n
c o n s is te n c y o f harm onic te n s io n i s e s t a b l i s h e d ( i n t h i s case
t h e sem ito n e and 'sem ito n e p lu s t r i t o n e ' g ro u p in g s) and c e r t a i n
f i g u r e s and more complex t e x t u r e s p ro v id e momentary d e v ia ti o n s
from t h e p red o m in an t t e n s io n s .

I
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41

Much o f th e p a r t i c u l a r e s t h e t i c e x p e rie n c e in t h i s s t y l e
can be s tu d ie d i n term s o f th e p r i n c i p a l ty p e s of p a t t e r n
c lo s u re w hich w i l l be p e rc e iv e d by a l i s t e n e r as a work
p ro g resse s.

C e rta in ty p es o f p a t t e r n c lo s u r e in Crum b's

work are q u i te s tr a ig h tf o r w a r d and need n o t be d is c u s s e d in


any d e t a i l .

The opening 'i n t o n a t i o n ' f o r exam ple, te rm in a te s

in a very o b v io u s c lo s u r a l g e s tu r e - 'th e dim inuendo a l


n ie n te '.

A nother i n t u i t i v e l y a p p a re n t

in d ic a tio n of

c lo s u re and a r t i c u l a t i o n i s th e amount o f tim e l e f t betw een


s u c c e s s iv e g e s tu r e s such a s th e th re e second pau ses (b e fo re
'm o lto d e l i c a t o ' and b e fo re th e r e tu r n o f th e c r i s t a l i n o
'i n t o n a t i o n ' ) o r th e fe rm a ta s o r s h o r t p au se i n d i c a t i o n s . A
i
n a tu r a l c lo s u r e a r i s e s in t h e 'm o lto d e l i c a t o ' s e c tio n from
24
sim p le rh y th m ic p u lse and th e slow tem po,
upon w hich a r e s u p e r
imposed th e a r t i c u l a t i o n o f th e words and p h ra se s o f th e t e x t
and th e p a t t e r n i n g o f i n t e r v a l l i c sym m etries betw een th e so p ran o

\ 24.

-R esearch by th e em inent French p s y c h o lo g is t, P aul F r a is s e


has i n d ic a te d some p o s s ib le g u id e lin e s f o r judgem ents
of th e p e rc e p tio n o f e v e n ts in se q u e n c e . F r a is s e ' s u g g e s ts
g e n e r a lly (see page 123 o f The P sychology o f Time, t r a n s . by
J e n n i f e r L e ith ) ) t h a t e v e n ts which fo llo w , a t a c lo s e r i n t e r v a l
them i .7 seconds w i l l ten 4 t o be h e ard a s a s in g le c o h e re n t
flo w . A t a p p ro x im a te ly .7 seconds betw een each e v e n t, th e y
w i l l be h e a rd a s in d iv id u a l e v en t3 in d i r e c t s u c c e s s io n , and
a t i n t e r v a l s o f more than .7 se co n d s, t h e i m p r e s s io n 'is t h a t
o f i s o l a t e d o c c u rre n c e s . The i n d iv i d u a l s t a c a t t o p i tc h e s
?
o f th e 'm o lto d e l i c a t o ' s e c tio n o ccu r a t aboutrtShe ev ery
se co n d , w hich i s ' f a s t e r th a n th e s u c c e s s io n o f th e 'c r i s t a l i n o '
to n e s , b u t s t i l l slow endugh to c r e a t e th e g e n e ra l im p re ssio n
o f i s o l a t e d e v e n ts r a t h e r th an a u n i f i e d flo w .

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42

{ i/

and v i b r a p h o n e .^
The su b se q u e n t v ib rap h o n e a rp e g g ia tio n s c r e a te an
i n t e r e s t i n g form o f m elodic c lo s u r e in t h e i r d e p a r tu r e and
r e t u r n to a s p e c i f i c p i t c h , th e D n a t u r a l in t h e f i r s t o f
th e s e , and th e F n a tu r a l of th e pppp a rp e g g ia tid n which
i s r e c a l l e d (E# trem olando) b e fo re th e b e g in n in g o f'R a in -D e a th
Music I.'
o f th e

As a lr e a d y m en tio n ed , w ith th e c o n s ta n t r e - i t e r a t i o n

F n a tu ra l in th a t r e g is te r ,

becomes a p o in t o f lo n g

range m elo d ic r e t u r n in th e accom panying m usic.

An im p o rta n t p o in t in th e g e n e ra l p rS g re ss^ o n o f th e
p ie c e i s reach ed a t th e r e i t e r a t i o n o f t h e t e x t in 'R a in Death Music I ? ^ in c e t h i s i s th e f i r s t s tr o n g i n d ic a t i o n o f a
r e p e t i t i v e l i n e a r p a tt e r n i n g .

The r e t u r n of th e t e x t in

th e same g e n e ra l m elodic s e t t i n g c r e a te s both im m ediate and


long range e x p e c ta tio n s based upon what L eonard Meyer has term ed
's u c c e s s iv e c o m p ariso n 1, o r th e a n t i c i p a t i o n o f r e p e t i t i o n .

25.

W ebern's concisen&ss o f g e s tu r e and t h e d e p ic tio n of


'c r y s t a l i n e ' i n t e r v a l l i c sym m etries which were m entioned
b r i e f l y in th e f i r s t c h a p te r a re s tr o n g ly r e f l e c t e d in Crumb's
m usic. As in W ebern's m usic, t h i s f e a t u r e of m elo d ic d e sig n
le n d s an a d d i t i o n a l form al e le g a n c e to t h e rhythm ic d e f i n i t i o n
o f th e in d iv id u a l g e s tu r e s . As an a s id e to t h i s d is c u s s io n
o f Crum b's s t y l e , i t i s i n t e r e s t i n g to n o te some p o s s ib le
i n d ic a t i o n s o f t h e lo g ic by w hich e le m e n ts o f Webern can
be com bined w ith th e more sp o n tan eo u s and m y ste rio u s o v e r
to n e s o f L orca, crum b, in h i s n o te s fo r th e re c o rd in g o f
A n c ien t V oices o f C h ild re n q u o te s th e fo llo w in g e x c e rp t from
L o rc a ' s ' th e o ry and F u n ctio n Duende' w hich L orca e x p la in s h i s
c o n c e p tio n s o f t h e C re a tiv e im p u lse: "T h is 'm y s te rio u s power
t h a t everyone f e e l s b u t t h a t no p h ilo s p h e r h a s e x p la in e d '
i s i n f a c t th e s p i r i t o f th e e a r t h . . . . A l l one knows i s t h a t
i t b u rn s th e b lo o d l i k e powdered g l a s s , t h a t i t e x h a u s ts ,
t h a t i t ' r e j e c t s a l l th e sw eet geomety one has l e a r n e d . . . "
(my i t a l i c s ) .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

/ ,
'

" R e ite r a tio n i s th e b a s is o f w hat may be


c a l le d t h e p r i n c i p le o f s u c c e s s iv e com parison.
A given p a tt e r n e s t a b l is h e s an in tra -.o p u s norm,
a b a se f o r e x p e c ta tio n w ith in th e p a r t i c u l a r
p ie c e . Subsequent d e v ia tio n s from th e p a tt e r n ,
o c c u rrin g in r e p e t i t i o n s , give r i s e t o a f f e c t i v e
o r e s t h e t i c re sp o n se s because th e y fu n c tio n to
a r r e s t o r i n ^ b i t th e tendency tow ard p r e c is e
re p e titio n .

'
'

In a d d itio n to th e sense o f developm ent which a r i s e s from


t h e new s e t t i n g o f th e t e x t u a l m elodic l i n e (in a f a s t e r
/

tempo

and more a c tiv e accompanying m a te r ia l) an i n t e r n a l

d e v ia tio n i s h e a rd in th e r e p e t i t i o n o f 'n o piensam 1 and th e


unexpected le a p t o th e h ig h A n a tu r a l in th e m elodic o rd e rin g
o f t h i s th r e e n o te c e l l .

O ther f e a tu r e s o f 'deviation,*

from th e p re v io u s s e t t i n g of th e t e x t can be n o te d in t h is
s e c t i o n such as t h e ornam ent on 'l l u v i a '
^

(a change from

th e pred o m in an tly s y l l a b i c s e t t i n g o f th e t e x t , and a s


n o te d e a r l i e r , th e a d d itio n o f a new harm onic c o lo r) and

th e r e p e t i t i o n o f 'e n l a l l u v i a ' b e fo re t h e r e t u r n o f th e
c r i s t a l i n o in to n a tio n which c r e a t e s a ty p e o f b a la n c e w ith
th e e a r l i e r r e p e t i t i o n o f 'no p ie n s a m '.
f
An i n t e r e s t i n g long range p a tte r n in g of te x tu r e i s
e v id e n t in b o th 'R ain-D eath Music I and 11*.

These p a ssa g es

|
\

each b e g in w ith one p la y e r

who i s in t u r n jo in e d by th e

o f th e sound, and then a s th e vibraphone and th e c o n trb a ss


----- --

o t h e r s , g r a d u a lly b u ild in g t h e rhythm ic and harm onic d e n s ity

26.

Leonard
eyer,/ Emotion and
i.n M
usic,
(Chicago:
iiGon&rci M
H6yGX
&nci Meaning

m u
s ic
U n iv e rs ity o f C hicago P r e s s , 1 9 3 ?), p . 152.

R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

44

become' s i l e n t , th e t e x t u r e red u c es to a so p ran o s o l o , th u s"


tr a c in g a ty p e of lo n g ra n g e t e x t u r a l form o r shape ( to use
la R u e 's te rm ).

The r e p e t i t i v e a l t e r n a t i o n betw een ensemble

and s o lo t e x tu r e s o r betw een d i f f e r e n t s o l o i s t s i s an


im p o rta n t form o f p a tt e r n i n g in Crum b's nrusic w hich w i l l be
d is c u s s e d l a t e r in more d e t a i l .

In th e

'R a in -D ea th Music

I and I l ' o f t h i s p i e c e , th e s h o r t soprano s o lo s may be


re g a rd e d as c l o s u r a l f e a t u r e s in th e
i

p a tte r n in g o f te x tu r e .

In term s of th e p ro g r e s s io n o f t h e p ie c e , a g r e a t e r sen se of
c lo s u r e i s f e l t in term s o f te x tu r e a t th e end o f 'R ain-D eath
*
Music I I 'b e c a u s e t h i s p a tt e r n o f te x tu r e h a s a lre a d y been
e s t a b l is h e d i n th e p re c e e d in g 'R ain-D eath M usic I*.
e a r lie r , a sh o rt te x tu ra l

As n o tic e d .

r e i t e r a t i o n of t h e lo n g e r g e s tu r e

o f *Rain-Death Music I ' i s a p p a re n t in th e v ib ra p h o n e and


c o n tra b a s s a r p e g g ia tio n and soprano r e - e n t r y b e fo re th e
r e t u r n o f th e 'c r i s t a l i n o ' i n to n a t io n ..

I t i s i n t e r e s t i n g to

r e f l e c t upon th e i s o l a t e d pppp v ibraphone and c o n trb a s s


a r p e g g ia tio n o f th e 'm o lto d e l i c a t o ' s e c tio n as a p o s s ib le
foreshadow ing o f th e s e lo n g e r mo^e complex t e x t u r a l g e s t u r e s .

With t h e r e p e t i t i o n o f 'e n l a l l u v i a ' a t th e end o f


i'
Death M usic I', a v e ry s tro n g p o in t o f c lo s u r e is rea ch e d
dim inuendo, rita rd e u iH o , and pause) b u t th e in c o m p le te n e ss
|

o f th e t e x t may f o r some l i s t e n e r s b e a s o u rc e o f a n ti c i p a ti o n
o v e r th e th r e e secon d p a u s e .
f

In a n y .c a s e , th e r e t u r n o f th e

'c r i s t a l i n o ', in to n a tio n comes a s an a w a ite d c o n tin u a tio n and

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45

c r e a t e s b o t h an im m ediate p r e d i c t a b i l i t y in t h e sequence o f
i t s g e s tu r e s (an a n t i c i p a t e d r e p e t i t i o n o f th e o pening
sequence) a s w e ll as c e r t a i n im p lic a tio n f o r th e lo n g ran g e
d e s ig n . . I t i s i n t e r e s t i n g t o n o te th e d e v iaticro w h ich i s
composed i n t o t h i s

r e 0i t e r a t i o n ' - a sim p le change i n th e o rd e r

o f the* m y ste rio u s s y l l a b l e s and a much s o f t e r dynamic l e v e l ,


.as i f i t were a f a i n t echo o f th e Opening i n t o n a t i o n .

As

e f e t u r n t o th e d i s t i n c t i v e opening m a t e r i a l , th e ' c r i s t a l i n o 1
r e - i t e r a t i o n r a i s e s e x p e c ta tio n s -as to w h e th e r t h i s i s a
f o r t u i t o u s r e p e t i t i o n o r w h eth er i t has a s i g n i f i c a n c e a s p a r t
(
o f a p o s s ib le fo rm al symmetry which may be r e v e a le d in t h e
fo llo w in g p a s s a g e .
\

<

f
R ain-D eath M usic I I ', which does fo llo w h a s , as a lr e a d y
m entioned, th e same g e n e r a l t(^x tu h | c o n to u r w hich was
p r e v io u s ly h e a rd in 'R a in -D ea th Music 1'^ and i t i s a r e t u r n to
th e s tr a ig h tf o r w a r d tr e a tm e n t o f th e t e x t o f t h i J-molto
d e l i c a t e 1 s e c t i o n (e x c e p t t h a t i t i s amid a g r e a t e r , d e n s ity o f
e v e n ts and a t a f a s t e r tempo),. The c l o s u r a l l o g ic o f th e

"o
end o f'R a in -D e a th Music I I ' and o f th e whole p ie c e can be
, >.

u n d e rsto o d in te rm s o f the- r e t u r n t o tie so p ra n o s o lo t e x t u r e ,


p e rh a p s a s l i g h t s i m i l a r i t y in f i n a l g e s tu r e t o t h a t of th e
*
r e p e t i t i o n o f 'e n l a l l u v i a ' o f t h e p re c e e d in g s e c t i o n ,
-

- '

th e s l i g h t slow ing .down -in t h e f i n a l g lis s a n d o o f t h i s g e s tu r e


1

and i n th e m eaning o f th e t e x t . '

27..

I t i s i n t e r e s t i n g to n o t e 't h a t in t h e c o m b in a tio n w ith


th e f a c t o r s o f c lo s u r e a t t h i s poiift:, the i n t e r v a l

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

27

46

The l a s t o f th e s e f a c t o r s , t h e t e x t , has a v e ry s i g n i f i c a n t
( >

r o l e in th e o v e r a l l d i r e c t i o n o f t h e p ie c e .'1' The a n te c e d a n t
lin e

no p iensam en a l l l u v i a 1 g a in s em phasis i n i t s v a r i e d
v
r e i t e r a t i o n in R ain-D eath M usic I', b u t in the f o u r t h
s ta te m e n t (a t o t a l o f two f u l l s ta te m e n ts o ccu r i n 'R a i n -

r)

D eath M usic

th e more o f l e s s e x a c t r e p e t i t i o n c r e a t e s a

'

sen se o f s a tu ra tio n

28

o f an e x p e c ta tio n o f change w hich

f o c u s s e s i n t e r e s t on th e a n t i c i p a t e d c o n seq u e n t l i n e
han d o rm id o ') w hich i s em phasized

( 'y se

from i t s h a v in g been

*
d e la y e d and from th e f a c t t h a t i t c o n s t i t u t e s th e f i n a l
i

moment, o f th e p i e c e .

<
*F
|

A f te r th e ending o f th e p ie c e h as become a p p a r e n t,
(
'

'

th e l i s t e n e r can r e f l e c t upon th e lo n g ran g e d e s ig n .

A c e rta in

u n d e rly in g e le g a n c e em erges in n o t o n ly th e ^ v a r io u s fo rm al
4

r e i t e r a t i o n s b u t a ls o i n t h e d u r a t i o n a l p a t t e r n i n g o f th e
p rin c ip a l p assag es.

The fo llo w in g i s th e le n g th o f th e

. * p a s s a g e s w hich would m ost l i k e l y be " d is tin g u is h e d by a l i s t e n e r :


*.

th e o p en in g c r i s t a l i n e

'i n t o n a t i o n ' se v e n te e n s e c o n d s , 'm o lto

d e l i c a t o '- a b o u t tw e n ty -f o u r s e c o n d s ,'fta in -D e a th M usic I'ta b o u t

,
%

f i f t y s e c o n d s , th e r e i t e r a t e d I n t o n a t i o n se v e n te e n se co n d s
>
f
and *R ain-D eath Music XI* a b o u t tw e n ty -o n e se co n d s. The

content o f clo sin g gesture i s not one o f the predominant


s o n o r itie s o f the piece ( i . e . e ith e r the *semitQne* or tr ito n e
and semitone* groupings) and as such creates a sense o f subtle
harmonic d eviation and openness in the ending.
28.

See Leonard Meyer, Emotion and Meaning in Music, p . 135,

i .

~
*!

'i
i

'

'

'

'

'

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

47

ap p ro x im ate e q u iv a la n c e >in th e d u r a tio n o f th e 'R a in -D e a th


( >
I I 'a n d th e 'm o lto d e l i c a t o p a s s a g e s i s r e in f o r c e d by th e
f a c t t h a t th e y b o th fo llo w a s ta te m e n t o f th e 'c r i s t a l i n o '
i n to n a t i o n and th ey b o th p r e s e n t s t a c a t t o s y l l a b i c t r e a t
m ents o f th e t e x t .

The c e n t r a l R a in -D ea th Music I' i s

c o n s id e r a b ly lo n g e r than th e 'm o lto d e l i c a t o ' and th e 'R a in D eath I I ' and a ls o c o n ta in s , i n com parison t o .t h e s e p a s s a g e s ,
\
t
a n o t ic e a b l e e f f e c t i v e e la b o r a t i o n o f th e t e x t u a l m elodic
lin e .

The more im m ediately t a n g i b l e a s p e c ts of th e lo n g ran g e

d e sig n a r e o f course th e c y c l i c r e p e t i t i o n s o f th e t e x t ,
th e r e c u r r a n c e o f th e 'c r i s t a l i n o ' in to n a t io n and p o s s ib ly
\

th e d e t a i l o f th e r e c u r r e n t h ig h r e g i s t e r B-F in each o f th e
th r e e p r i n c i p a l p a s s a g e s .

As n o te d h e r e .m o r e s u b tle

r e c u r r a n c e s w i l l be h eard in th e t e x t u r a l development o f 'R a i n Death M usic I* and 'R ain-D eath M usic I I ' and betw een 'R ain -D eath
Music I I ' and th e 'm o lto d e l i c a t o ' s e c t i o n in d u r a tio n and th e '
tr e a tm e n t o f th e t e x t .

Added to t h i s i s a type o f d evelopm en t

th ro u g h o u t t h e th r e e p r i n c i p a l p a s s a g e s i n term s o f a c t i v i t y
and dynam ic l e v e l , i . e . , 'R a in -D eath M usic I I ' i s th e
s o f t e s t and m ost a c t iv e a s i f in i m i t a t i o n

(as>m entioned

e a r l i e r ) o f an in c r e a s in g s t e a d i n e s s in t h e r a i n and th e
e v e n tu a l f a l l i n g a s le e p .

The r e s u l t in term s o f m u sic a l

tim e i s s im la r to w hat w i l l b e se e n i n c e r t a i n o f C rum b's


lo n g e r p i e c e s .

A c e n t r a l r e p e t i t i v e p ro c e s s (in t h i s c a se th e

r e p e t i t i o n o f th e te x t) g e n e r a l l y d e te rm in e s th e l a r g e r
d im e n sio n s o f th e w ork, and p r o v id e s a b a s i s f o r lo w er l e v e l

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

48

, ,
(

e x p e c ta tio n s .

Superim posed upon, o r c o in c id e n ta l w ith t h i s

how ever, a re th e o th e r re c u rra n c e s i n g e s tu r e (th e in to n a tio n s )


\
t
|

o r t e x t u r e o r p i t c h , which im ply th e p re s e n c e of o th e r
p r o c e s s e s , and which c o n trib u te added dim ensions to th e b a s ic
form al d e s ig n .

In lo o k in g more g e n e ra lly a t Crum b's m usic, i t can be


n o te d t h a t th e p a tte r n in g o f r e i t e r a t e d m a te ria l in to lo n g e r
r e p e t i t i v e se q u en c es i s a very im p o rta n t a s p e c t o f h is tre a t-?
ment o f m u sic a l tim e .

T his c o u ld be seen o n ly to a l i m i t e d

e x t e n t i n 'N o piensam en l a l l u v i a ' b u t i s q u ite prom inent


i

>

in

D eath.
,

'C ancion de J in e te * of Songs, Drones and R e fra in s o f


Very a b s t r a c t l y , i f W,X,Y, and Z a r e in d iv id u a l

g e s tu r e s o r p a ssa g e s played by a p a r t i c u l a r p la y e r, many p ie c e s


and p a ssa g e s o f Crumb's m usic w ould have W X Y Z W X Y

W-X Y Z o r som ething lik e t h is a s t h e i r b a s i c form al d e s ig n .


In term s of m u sica l tim e, th e e s s e n t i a l i n t e r e s t in t h i s
j

ty p e o f c y c l i c a l o rg a n iz a tio n i i s b o th in t h e im m ediate and long

{-

range p r e d i c t a b i l i t y and th e se n se o f p ro c e s s o r developm ent

which i s d e riv e d thro ugh any d e v i a t i o n in th e s im ila r

se g m en ts.

An e x te n s io n o f t h i s c y c l ic o r g a n iz a tio n o f

m a t e r i a ls can be seen in Crum b's more complex p a s s a g e s .


t y p i c a l l y i n Crum b's m usic, t e x t u r e s o f in c r e a s e d d e n s ity
and c o m p le x ity a re d e riv e d th ro u g h a sim p le s u p e r p o s itio n
o f d i f f e r e n t c y c le s of e v e n ts a s i n th e many in s ta n c e s of
^

'c i r c l e m u sic' o r th e o c c a s io n a l in s ta n c e o f iso rh y th m .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

Very

^ i

49

The l a t t e r o f th e s e idiom s (found in M adrigals Book IV,


number o n e , "La Noche C a n t a . . . . " and in 'M yth' o f Music
fo r a Summer E vening) i s in k e e p in g w ith th e g e n e ra l concep -

tio n o f t h e form of th e medkjevil iso rh y th m ic * m o te t.

N o ta te d

in a s t r i c t tem po, i t c o n s is ts o f a s u p e r p o s itio n o f two s e p a r


a te p a r t s each r e p e a tin g a rh y th m ic s t r u c t u r e o f d i f f e r e n t
d u r a tio n .

The su p erp o sed rh y th m ic c y c le s c o n ta in e a s i l y

d is c e r n a b le g e s tu r e s b u t a re too long to be e a s i l y re c o g n iz e d
as r e p e t i t i v e p a t t e r n s (seven and te n m easures in 'La Noche
C a n t a . . . ' and seven and t h i r t e e n in 'M y th ') e s p e c i a l l y s in c e
th ey a re h e a rd t o g e t h e r , and in b o th c a s e s , a t h i r d p a r t
e n te r s in d e p e n d e n tly w ith d i f f e r e n t m a t e r i a l .

Because o f th e

d i s t i n c t tim b r a l and g e s tu r a l q u a l i t y o f th e e v e n ts w ith in

th e i n d iv id u a l l i n e s , th e l i s t e n e r i s aware o f a type o f
r e p e t i t i v e p r o c e s s , which rem ains u n p r e d ic ta b le because o f th e
t e x t u r a l c o m p le x ity , u n fo ld in g e v e n ly and s t e a d i l y in o b e d ie n ce
to th e h id d e n i n t e r n a l lo g ic .

The is o rh y th m ic form o f 'M yth'

i s p a r t i c u l a r l y d e c e p tiv e to th e e a r s in c e b o th c y c le s a r e
i n t e r n a l l y sy m m etric, c r e a tin g f u r t h e r r e p e t i t i o n s w ith in th e

J;
^

in d iv id u a l iso rh y th m ic l i n e s .

'C i r c l e m u sic ' by c o n tr a s t i s composed a s a r h y th m ic a lly


I
i
f
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{

f r e e and spo n tan eo u s s u p e r p o s itio n o f m a te r ia l u s u a lly r e s u l t ing in a d e n se r complex of e v e n t s .

The te c h n iq u e d iv id e s
%

th e ensem ble i n t o s e p a ra te g ro u p s o f p e rfo rm e rs , each group


(

in d e p e n d e n tly p la y in g a s e r i e s o f fra g m e n ts , le a v in g a few

R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

If

50

seconds betw een e ac h .

29

In m ost i n s t a n c e s , a s ta g g e rin g

o f th e e n j^ i e s o f tfie d i f f e r e n t g ro u p s c r e a t e s a g rad u a l
r i s e and f a l l i n th e co m p lex ity o f th e sound, and in a d d i t i o n ,
th e sen se o f superim posed c y c le s becomes more a p p a re n t when
th e s e p a r a te g roups p la y th e same m a t e r i a l as in Echoes o f
*

Time and t h e R iv e r and Songs, Drones and R e fra in s of D e a th ,


c r e a tin g a ty p e o f im m ita tiv e ex ch a n g e .

In term s of m u sic a l

tim e, c i r c l e m u sic, l i k e iso rh y th m c r e a t e s a flo w o ^ e v e n ts


in which i n t e r e s t i n g e f f e c t s a r i s e in th e spontaneous ju x ta p p o s it i o n and o v e rla p p in g o f g e s t u r e s o f te n in a 's tr e a m
o f c o n s c io u s n e s s ' or d re a m -lik e am bience.

As" can be im ag in ed ,

c i r c l e m usic p r e s e n ts no sen se of d i r e c t e d s u c c e ss io n or
p re d ic ta b ility

(e x c e p t perh ap s v a g u e ly i n th e g e n e ra l r i s e

and f a l l i n th e d e n s ity of th e o v e r a l l t e x t u r e , and a g a in


perh ap s when th e c i r c l e music is slow and long enough t h a t any
'e c h o in g ' o f m a te r ia l could be re c o g n iz e d and a n tic ip a te d )
and a s su ch , i t o f te n p ro v id e s a s t r u c t u r a l and d ra m a tic
c o n tr a s t t o th e more rh y th m ic a lly s t r i c t and d i r e c te d p a s s a g e s ,
As o f y e t, in o n ly one o f Crumb's p i e c e s , Dream Sequence,
doed th e c i r c l e m usic form t h e p red o m in an t o r g a n iz a tio n o f
th e whole w ork.

29.

The fra g m e n ts o f each c y c le o f m a te r ia l a r e a rra n g e d on


th e page i n th e form o f a c i r c l e , hence th e name. T h is
would n o t a p p e a r to h ave a s u b s t a n t i a l r o l e i n th e m u sic a l
e f f e c t , b u t i t does p ro v id e a g ra p h ic n e g a tio n o f th e
t r a d i t i o n a l l y i l i n e a r c o n c e p tio n o f tim e which i s im p lie d i n
c o n v e n tio n a l n o t a t i o n . T his i s p a r t i c u l a r l y a p p ro p ria te
to th e s e n se o f suspended d i r e c t i o n t h a t i s communicated in
th e v a r io u s p a ssa g e s o f c i r c l e m u sic.

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

As seen in 'no piensam en l a l l u v i a . . . ' th e 'e c h o ' is


a common image o f r e p e t i t i o n in Crumb's m usic, and is an
obvious so u rc e o f 's u c c e s s iv e c o m p a ris o n '.

The 'e c h o ' i s

tr e a te d in Crumbs music much as i t o c cu rs n a t u r a l l y f a i n t l y and a t a g r e a te r o r l e s s e r d e la y a f t e r th e o r ig in a l


m a te r ia l

I t th u s c re ate s atype o f l a r g e r rhythm a s seen in

some c i r c l e m usic p a ssa g es where th e echo o v e rla p s w ith th e


p rec ee d in g m a te r ia l or in c e r ta in l e s s complex p a ssa g es which
c o n s i s t o f a sim ple su ccessio n o f two o r th re e echoes o f a
given f i g u r e .
L orca

The 'e c h o ' is a f a i r l y conmon p o e tic image i n

and a s a m u sical e f f e c t i t embodies many of th e

m y stic a l and s u p e r n a tu ra l o v erto n es which a re a t the h e a r t o f


*
Crumb's s t y l e .

A nother v ery im p o rta n t a s p e c t o f Crum b's tre a tm e n t of


r e p e t i t i o n and o f m u sical time in g e n e r a l, i s th e s im u la tio n
o f r i t u a l i s t i c e x p e rie n c e .

Like th e 'e c h o ' t h i s can Be*

lin k e d w ith th e e v o c a tio n of th e m y s tic a l and s u p e rn a tu ra l


i n Crumb's m usic and is an a p p ro p ria te s e t t i n g f o r many of
30.

A lic e P o llin g s A Concordance o f th e P lay s and Poems o f


F e d e ric o G a rc ia L orca c i t e s s e v e n te e n o c cu rren c es of
' e c o ' o r ke c o s * . One example which would be p a r t i c u l a r l y
i n keeping w ith tfre tone and e v o c a tio n o f Crumb's m usic i s
found in ' P r e lu d e ' from th e ' C anciones .
<

"E l v ie n to e s t a am ortajado
a lo la rg o bacjo e l c i e l o
Pero ha degado flo ta n d o
sobre lo s r i o s su s e c o s ."

"The wind i s enshrouded


a t le n g th b en eath th e sky.
B ut i t has l e f t f l o a t in g
upon th e r i v e r s , i t s e c h o e s."

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

th e e x o tic sounds of Crum b's m usic ( e s p e c i a l l y th e

sounds

o f r i t u a l i s t i c c o n n o ta tio n lik e th e gong, o r tem ple b lo ck s


o r c h a n tin g e t c . ) . In term s of e s t h e t i c e f f e c t , th e elem en t
o f r i t u a l i s c h a r c t e r iz e d by a r i g i d a d h eren ce to p a tt e r n
and t h e r e f o r e an, ab sen ce o f a f f e c t i v e d e v ia tio n .

Meyer n o te s

th e fo llo w in g c o n ce rn in g r i t u a l in p r i m i t i v e m usic.
"Much p r i m i t i v e music i s in tim a te ly
c o n n e c te d w ith r i t u a l i s t i c o b se rv a n c e s
and m agic cerem ones, and i t i s p ro b a b ly
f o r t h i s re a so n t h a t i t o f te n te n d s to be
l e s s , s u b j e c t to v a r i a t i o n . The r e l i g i o u s
s a n c tio n s im posed upon p r i m i t i v e a r t and the
communal n a tu re o f th e p r i m i t i v e cerem onies
p r o h i b it t m s a a ti v e d e v ia t^ y n on th e p a r t o f
i n d iv i d u a l petfojjm ers^"
The iso rh y th m in 'M yth' from Music f o r a Summer E vening,
a lth o u g h i t s g e n e r a l sequence o f e v e n ts may be u n p r e d ic ta b le
to a l i s t e n e r , i s a good example o f r i g i d ad h eren ce to p a t t e r n
and th e e x a c t , r i t u a l i s t i c r e p e t i t i o n o f in d iv id u a l g e s t u r e s .
F u r th e r exam ples o f C rum b's tre a tm e n t o f r i t u a l w i l l be
d is c u s s e d i n th e a n a ly s e s o f Echoes o f Time and th e R iver
and

LuxA e te r n a , b u t i t can be n o te d h e re t h a t t h e s im u la tio n

of ritu a l

i n C rum b's m usic has th e e f f e c t o f m inim izing th e

p o s s i b i l i t y o f any s u b je c tiv e a n t i c i p a t i o n o f e v e n ts .

B ecause

o f th e e x a c t r e p e t i t i o n and u n ifo r m ity o f p e rc e iv a b le p a t t e r n i n g ,


th e r e i s no d o u b t c r e a te d w ith r e s p e c t t o th e co m p letio n o f
an u i\d e v ia tin g r i t u a l i s t i c p a t t e r n .
i

The l i s t e n e r can o n ly

a c c e p t any h ig h e r o rd e rin g o f r i t u a l i s t i c e v e n ts such a s f o r


*

s
31.

L eonard M eyer, Em otion and M


Meaning
eaning i n Music (C hicago:
U n iv e r s ity o f Chicago P r e s s , 1$S')j], p. i i j .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

S3

^ .

exam ple, th e number o f e x a c t r e p e t i t i o n s o f a p a r t i c u l a r


sequence a s b e in g a r b i t r a r i l y p re d e te rm in e d and beyond h is

c a p a b il i ty of p r e d i c ti o n .

'

The many in s ta n c e s of n u m ero lo g ic a l p a tt e r n i n g s of


re p e titio n

( i . e . , e x a c t r e p e t i t i o n s o f an elem ent sev en ,

e le v e n o r t h i r t e e n tim es) can be ta k e n as an e x te n s io n o f th e


elem ent o f r i t u a l i n Crum b's m usic.

B lack Angels i s the

most n o ta b le exam ple o f t h i s where th e

numbers seven and

t h i r t e e n a re t o be found in alm ost a l l a s p e c ts o f form al


o rg a n iz a tio n ;

th e numbei o f n o te s in s p e c i f i c rhythm ic

f ig u r e s , th e number of r e p e t i t i o n s o f a f ig u r e w ith in a move


ment', the number o f movements in th e work and even in d e te r ^

m m ants o f p i t c h s t r u c t u r e (th e p e r f e c t f i f t h c o n s is tin g o f


seven sem itones and th e m inor n in th o f t h ir t e e n '.) . O ther
works e x h ib it n u m ero lo g ic a l p a tte r n in g s a s w e ll (as in th e
number o f b a rs in tl^e iso rh y th m ic c y c le s o f 'M yth') b u t only
^

w ith the mdkt o b v io u s r e p e t i t i o n s <which a re som etim es even

m entioned in program n o te s o r in t i t l e s such a s th e 'F iv e f o ld

G a la c tic B e l l s ' in Music f o r a Summer Evening) c o u ld th e a c t

o f c o u n tin g become a s i g n i f i c a n t elem en t o f p r e d ic tio n and

e x p e c ta tio n in th e e x p e rie n c e of th e m u sic.

In th e la r g e s c a le o r g a n iz a tio n o f C rum b's m usic, and


a t c e r t a i n in te r m e d ia te l e v e l s , i t i s p o s s ib le to d is tin g u is h
two a d d itio n a l a s p e c ts o f form al d e s ig n .

Very sim p ly , th e s e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

54

^ -

a re th e long ran g e grow th and decay in dynamic le v e l and


d ra m a tic i n t e n s i t y , and th e s u c c e ss io n o f m u tu a lly i s o l a t e d

e v e n ts in sym m etric a rch form s.

and decay a re s e l f e v id e n t in th e low l e v e l c re s c e n d i and

Forms o f dynamic growth

dim uendi o f in d iv id u a l l y r i c a l l i n e s , b u t exam ples o f extrem


e ly long dynamic g e s tu r e s e x te n d in g o v e r whole p ie c e s a re
w orth n o tin g .

In Music fo r a Summer E v e n in g , 'The Awakening'

i s conceived a s a f iv e m inute cresc en d o in dynamics and


a c t i v i t y . In th e same work, 'The A dvent1 c o n ta in s two such
g e s tu r e s (of a b o u t a m inute and a h a l f each) and t h e f i n a l
'Song o f R e c o n c ilia tio n ' i s composed a s an exten d ed (e ig h t
m inute) dynamic growth and decay.

Over whole w orks, i t is

e n t i r e l y p o s s ib le to h e a r (and ob serv e in th e score) a


g e n e ra l i n t e n s i f i c a t i o n in d ram atic a c t i v i t y , re a c h in g a clim ax
u s u a lly a f t e r th e h a l f way p o in t and f a l l i n g o f f tow ards th e
end, o f te n in many o f Crumb's w orks, i n a long extended fa d e /

o u t.

T his a rc h e ty p a l p a tt e r n o f d ra m a tic

i n t e n s i f i c a t i o n and

r e le a s e has been r e f e r r e d to in th e h i s t o r y

o f w e stern l i t e r a t u r e

a s th e n a r r a t i v e c u rv e , and ap p ears t o have

become deeply ro o te d

|
i5
|
i
\
|
I
|
I
I

in many t r a d i t i o n a l m usical form s as w e l l , as Barney C h ild s

fi

has n o ted in a r e c e n t a r t i c l e .

j
( )

"The W estern European i n t e l l e c t u a l and


c u l t u r a l t r a d i t i o n h as seem ingly found most fundam en tal a b a s ic s t r u c t u r a l o r g a n iz a tio n o f a
work o f tim e a r t , w hat m ight be c a l l e d a
n a r r a t i v e c u rv e . Greek tr a g e d y , th e 'c l a s s i c '
s h o r t s t o r y , th e t e l e v i s i o n crim e drama,
th e Romantic tone poem, f u r n is h Examples o f
t h i s o r g a n iz a tio n , which presum ably is ^ h e ld to
e x is t as
a s t y l i z e d r e f l e c t i o n o f how th e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

\
55

t r a d i t i o n views l i f e i t s e l f ..................
M a te ria l - c h a r a c t e r s , m usical sound,
w hatever - in tro d u c e d along w ith
elem ents of q u e s tio n o r te n s io n a r c h e ty p a lly p e rh a p s, as in th e R enaissance
t r a g i c dram a, o f d is o rd e rin g an o rd e re d
u n iv e rs e : a c t o r s , r e l a t i o n s h i p s , and
re s p o n se s in c re a s e i r r e g u l a r l y in co m plexity
and i n t e n s i t y : a h ig h p o in t o r r e le v a tio n
or c lim a x o r c a ta s tro p h e o r denouem ent i s
rea ch e d ; r e s o lu tio n o r r e l a x a t i o n o r 'f a l l i n g
a c t io n ' fo llo w s : co n clu d in g g e s tu r e o r comment
is made - a g a in a rc h e ty p a lly , th e renew al o f
cosmic o r d e r , o f ^ g u rse a l t e r e d from th e
o r i g i n a l o r d e r ."

/
^

A number of C rum b's w orks, e s p e c ia lly lo n g e r o n e s, t r a c e a


very n o tic e a b le ' n a r r a t i v e c u rv e ': Echoes o f Time and

th e R iv e r, Eleven Echoes o f Autumn, Lux A e te rn a , Songs, Drones


and R e fra in s o f D eath , and th e Makrokosmos Volumes I and I I .
The g e n e ra l d ra m a tic p ro g re s s io n and in p a r t i c u l a r , th e
(

p o s itio n in g o f th e clim ax in th e s e works can a ls o be r e l a te d


to a p r i n c i p le o f s t r u c t u r a l o r g a n iz a tio n a ls o found in the
music o f Bela B artok i n which p o in ts th e key d ra m a tic and
s t r u c t u r a l im p ortance occur a t th e gold e^n mean o f d u ra tio n
w ith in th e work o r movement.

Of th e p ie c e s m entioned,

s i g n i f i c a n t g o ld en mean o c c u rre n c e s can b e found in th e


fo llo w in g :

in Makrokosmos I I ,

th e 'c a d e n z a a p p o c a lip tic a '

a t th e begin n in g o f t h e e ig h th o f th e tw e lv e zo d iac p ie c e s ;
in Songs, Drones and R e fra in s o f D eath, th e 'cad en za
32.

Barney C h ild s , "Time and M usic, A C om poser's View,"


P e r s p e c tiv e s o f New M usic, XVI (1 9 7 7 ), p . 195
*

33.

F o r a f u l l d e s c r i p t io n o f th e p re s e n c e o f t h i s elem ent
i n B a rto k 's m u sic, see E m o , L en d v ai. B ela B a rto k H
An A n a ly sis o f h i s M usic, p . 17-26.

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56

J
a p p a s s io n a ta ' b re a k s out in th e m iddle o f th e t h i r d of f o u r
movements;

in Echoes of Time and th e R iv e r, th e c lim a c tic


r

'C o lla p s e o f T im e' o c c u rs in th e m iddle o f th e t h i r d movement;


and in Lux A e te rn a , th e p o in t o f maximun a c t i v i t y and
r e g i s t r a l expan sio n i s found in th e se v e n ty second of th e one
hundred and s ix te e n b a rs o f th e p ie c e .
a

'

JC
t

The term 'a r c h form ' has been used t o r e f e r to a symmetric


su c c e ss io n o f e v e n ts ab o u t a c e n t r a l p o in t or e v e n t.

G e n era lly

sp e ak in g , th e f i n a l e v e n t o f th e arch form r e c a l l s o r can


b e r e l a t e d to th e f i r s t , th e second l a s t t o th e second e t c .
b u t i t has been used in a lo o s e r sense in r e f e r r i n g to any
r e c a l l o r r e p e t i t i o n of opening m a t e r i a l. Both in s ta n c e s o f
'a r c h form ' are common i n Crumb's s t y l e , and on d i f f e r e n t
l e v e ls o f o r g a n is a tio n :

over whole w orks, w ith in in d iv id u a l


*

,itt

movements, or even w ith in in d iv id u a l p a s s a g e s .

In Crumb's

m usic, because o f th e wide v a r i e ty and d i s t i n c t i v e c h a r a c te r


o f m u sical m a t e r i a l, a rc h forms d e fin e d by th e s u c c e ss io n of
tim b ra l o r g e s tu r a l c h a r a c te rs become c l e a r l y im p lied to th e
lis te n e r.

'L o w -le v e l' a rc h forms can be h e a rd in Five P ie c e s

f o r Piano and B lack Angels in th e s u c c e s s io n and e x a c t


r e p e t i t i o n of i n d iv id u a l g e s tu r e s .
(Book IV number o n e ,

One o f th e M adrigals

' Por que n a c i e n t r a e s p e j o s ? ', "Why

was I b o m betw een th e s e m irro rs ? " )

i s a v e ry good example

o f Crum b's p r e d i l e c t io n f o r a rc h form sym m etries s in c e i t


c o n s is ts (as a r e f l e c t i o n o f th e t i t l e ) o f m irro r p a tt e r n s both
1

Z tf

m ifrirv-

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

I' Cf

57

\,
i n th e la r g e form and in th e in d iv id u a l D h ra se s.

The n103^

s t r u c t u r a l l y im posing of Crum b's a rc h sym m etries can be found


i n Black Angels ( t h i r t e e n p ie c e s , a l l i n t r i c a t e l y sym m etric
a b o u t th e seventh) and N ig h t Music I (seven p ie c e s sym m etric
a b o u t th e fo u rth ) where th e r e a re obvious r e l a t i o n s and
c o rre sp o n d e n ce s betw een in d iv id u a l movements in in s tr u m e n ta tio n ,
f

and th e m a tic m a t e r i a l .

In p ie c e s l i k e Echoes of Time and th e

R iv e r , and Music f o r a Summer E vening, only very g e n e ra l


s i m i l a r i t i e s in th e form o f e v en ts and movements can be
c o n s tru e d by th e l i s t e n e r as a rc h sy m m etries, and in p ie c e s lik e
E leven Echoes o f Autumn and Songs, Drones and R e f ra in s o f D eath,
th e arch form i s o n ly vaguely im p lied in t h e

re ite ra tio n of

c e r t a i n d i s t i n c t i v e tim b ra l/th e m a tic m a t e r i a l.

From th e o b s e rv a tio n s made to t h i s p o i n t; i t . i s p o s s ib le


t o sk e tc h an o u tlin e of th e g e n e ra l te n d a n c ie s o f o r g a n iz a tio n
w hich can be re g a rd e d as Crum b's m usical la n g u a g e .

On a

fundam ental s t y l i s t i c l e v e l , Crumb's m usic combines e lem en ts


o f 'stream o f c o n sc io u sn e ss' s t y l e w ith v a rio u s ty p e s o f t r a d i t i o n a l
r e p e titiv e r e - i t e r a ti v e p a tte rn in g .

Much o f th e immediate

e v o c a tio n and e f f e c t o f Crum b's m usic - th e use o f a rc h e ty p a l


s o n ic g e s tu r e s , o f s u b tle tim b ra l c o l o r a t i o n , t h e s u g g e s tio n ,
o f a type o f m y stic p r im itiv e s p i r i t u a l i s m , th e wide range
o f e m o tio n al i n t e n s i t y , and th e u se o f s i m p l i s t i c form al
d e sig n can be r e l a t e d to i t s a s s o c ia tio n w ith t h e p o e try o f
Cl

G a rc ia L o rca.

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58

In lo o k in g ^Lt t r a d i t i o n a l le v e ls o f m u sic a l a n a ly s is
i t i s p o s s ib le to f i n d , as one would e x p e c t i n Crum b's m usic,
34
a ty p e o f s i m p l i s t i c h i e r a r c h i c a l o r g a n i z a t i o n .
I n d iv id u a l
'lo w le v e l^ ^ g e stu re s a re c l e a r l y a r t i c u l a t e d

and o rg a n iz e d i n t o

in te rm e d ia te s y n t a c t i c form s, which i n tu rn a r e c l e a r l y
d i f f e r e n t i a t e d and a r t i c u l a t e d and in t h e i r s u c c e s s io n ,
c o n s t i t u t e a lo n g ran g e shape w ith in th e w ork.

G e n e ra lly

sp e a k in g , th e n a tu r e o f th e in d iv id u a l g e s tu r e s in Crum b's
m usic v a r i e s w ith th e d i v e r s i t y o f m a t e r i a l , b u t n eed s l i t t l e
e x p la n a tio n s in c e i t i s b a se d on f a m i li a r s t y l i s t i c in flu e n c e s
( l y r i c a l g e s tu re and movement, a t e x t , th e d u r a t i o n of
p e rc u s s io n so u n d s, e t c . ) and i s apprehended i n t u i t i v e l y in th e
rh y th m ic a r t i c u l a t i o n o f a p ie c e .
la l l u v i a

As seen i n "No piensam in

" within intenrediate s y n t a c t i c fo rm s, th e elem ent o f

i n t e r v a l l i c te n s io n o f te n a c t s in Crum b's m usic a s v t r a d i t i o n a l


34.

The term 'h i e r a r c h i c a l ', p a r t i c u l a r l y in t h i s c o n te x t


r e q u ir e s some e x p la n a tio n . H ie r a r c h ic a lo r g a n iz a tio n s
a r e v ery sim ply th o se in w hich s m a lle r u ^ i t s c o n s t i t u t e a
s in g le l a r g e r u n i t , a number o f which i n tu r n c o n s t i t u t e
a s t i l l l a r g e r u n i t . The s ta n d a rd w e ste rn c a l i b r a t i o n o f tim e
i n t o se co n d s, m in u te s , h o u rs , d a y s, w eeks, m onths, y e a rs e t c .
would be a good exam ple o f a h i e r a r c h i c a l o r g a n i z a t i o n ,
c e r t a i n d i v is io n s o f which a re more o r l e s s a r b i t r a r y and
c o n v e n tio n a l, and o th e r s w hich can be r e l a t e d to im p o rta n t
n a t u r a l phenomena. M u sical s t r u c t u r e can s i m i l a r l y be
h i e r a r c h i c a l ly c o n ce iv e d i n t h a t th e l a r g e s t fo rm al u n i t s may
be su b d iv id e d (a g a in a r b i t r a r i l y o r p e r c e p tu a lly ) i n t o s m a lle r
u n i t s . The g e n e r a l h i e r a r c h i c a l c o n c e p tio n o f m u sic a l tim e ,
how ever, i s t h a t th e d e t a i l s o f a work can b e r e l a t e d i n some
way by a l i s t e n e r to th e m eaning o f th e w hole w ork. In t h i s
s e n s e th e m ew ing o f th e e n t i r e c o m p o sitio n i s more th a n th e
sum o f i t s p a r t s s in c e i t in v o lv e s th e s u c c e s s io n i n which
th e c o n s t i t u t u e n t e v e n ts o c c u r .
(For an i n t e r e s t i n g d is c u s s io n
o f th e c o n c e p ts o f h i e r a r c h i a l o r g a n iz a tio n i n m usic o f th e
a v a n t g a rd e se e L eonard Meyer i n M usic, th e A rts and I d e a s , p .

1
1
I
I

''

164). The particular s t y l i s t i c q u ality of musical time which


w ill be discussed here i s related to the means by which hier
archical orderings of events can be understood by the lis te n e r .

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59

so u rc e o f a u r a l c o h eren ce and a r t i c u l a t i o n i n th e s u c c e s s
io n o f in d iv id u a l g e s t u r e s .

In te r m s .o f th e g e n e r a l c o n c e p tio n

o f Crum b's m usic, th e u se o f t y p ic a l a to n a l i n t e r v a l l i c


p a tt e r n i n g would a p p e a r to b e a b a s is to which o th e r harm onic
and tim b n a l c o lo r a ti o n s a re added o r upon w hich they^made to
in tr u d e w ith in th e ty p e o f e c l e c t i c 'm onum ental' com binatio n
o f m a te r ia ls which Crumb d e v is e s .

S in ce th e fo rm a tio n o f in d iv id u a l 'g e s t u r e s ' would ap p ear


9

'

to fo llo w from th e b a s i c p re m ise s o f Crum b's s t y l e and h is


*

v a rio u s 'b o rro w in g s ' w hich have a lr e a d y been o u t li n e d , th e


m ain i n t e r e s t in t h i s a n a ly s is o f m u sic a l tim e can be fo cu sse d
on th e seq u en cin g and c o m b in atio n o f th e fun d am en tal g e s tu r e s
i n t o a lo n g e r form . To t h i s p o i n t, two im p o rta n t and v ery
g e n e ra l a s p e c ts o f th e in te r m e d ia te o r g a n iz a tio n o f Crum b's
m usic have been d is c u s s e d : th e sim ple l i n e a r s u c c e s s io n o f
I
e v e n ts and th e e v e n t com plex. The l i n e a r se q u e n c in g o f e v e n ts
becomes q u i te a u d ib le i n Crum b's m usic from t h e j u x t a p o s i t i o n
Of h ig h ly c o n tr a s t in g and d i s t i n c t i v e m a t e r i a l , and from
su b se q u e n t s e q u e n tia l r e p e t i t i o n s .

An i n t e r n a l p r e d i c t a b i l i t y

i s d e riv e d i n Crum b's s t y l e as i n sim p le t r a d i t i o n a l s t y l e s ,


from th e r e p e t i t i o n o f such se q u e n c e s, an d , a s seen to a
l im i te d e x t e n t , so f a r in t h e d is c u s s io n , d i f f e r e n t ty p e s o f.
x
'
A
lo n g e r ran g e m u sic a l p ro cessajk re im p lie d in t h e n a tu r e o f th e
resem b lan ce and d if f e r e n c e i n th e r e c u r r e n t m a t e r i a l s .
( )

i n t e r e s t i n g t o add t o t h i s some rem arks

I t is

w hich L eonard Meyer

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60

^ j

h a s made r e g a rd in g th e e f f e c t o f th e more o b v io u s form al


r e p e titio n s in tr a d itio n a l s ty le s .

"W hile I was w orking on t h i s p a r t o f th e book,


I happened to go to a c o n c e rt o f t r a d i t i o n a l
to n a l m usic and was s tru c k by th e number o f p h ra s e s
and s e c tio n s baped'^upon e i t h e r l i t e r a l o r s e q u e n tia l
r e p e t i t i o n ( e . g . A-A, A-A-B, o r A-A-B)* How i s i t
p o s s ib l e to g e t away w ith- su ch o b v io u s , even b l a t a n t
redundancy? I s u s p e c t th e m ost im p o rta n t re a so n
i s t h a t b e c a u se th e, r e p e t i t i o n i s embedded i n a
f h i e r a r c h i c a l c o n t e x t , i t i s o n ly p a r t l y p e rc e iv e d
in term s o f t h e model from w hich i t d e r i v e s . M ostly
i t i s u n d e rs to o d as a p a r t , a b u ild in g b lo c k ,
in th e o r g a n iz a tio n o f a more e x te n s i v e , h ig h e r
l e v e l s t r u c t u r e . P e r c e p tu a l a t t e n t i o n i s d i r e c t e d
n o t to th e red u n d an cy r e l a t i o n s h i p i t s e l f , b u t
tow ard th e w hole e x te n t o f w hich th e r e p e t i t i o n
i s a p a r t . The red u n d a n t e le m e n t i s h e a rd a s
b e lo n g in g t o a p ro c e s s - a s le a d in g tp w ard some
more rem ote g o a l.
In ya d d itio n to th e, se n se o f p ro c e s s o r developm ent
w hich a r i s e s i n s u c c e s s iv e d e v ia ti o n s , th e more l i t e r a l and
ef
s e q u e n t i a l r e p e t i t i o n s i n Crum b's m usic, a s in t r a d i t i o n a l
*
%
s t y l e s , fo cu s i n t e r e s t o n .t h e long ran g e h i e r a r c h y . The more
e x a c t n a tu r e o f some o f th e lo n g ra n g e h i e r a r c h i e s in Crum b's
m usic w i l l be d is c u s s e i n th e fo llo w in g c h a p te r .

The e v e n t com plex, i n e i t h e r s t r i c t o r f r e e rhythm ic


n o t a t i o n , i s g e n e r a lly h e a rd i n Crum b's m usic a s a r i c h and
flo w in g t e x t u r a l u n ity from w hich i s o l a t e d e v e n ts emerge
m o m en tarily i n an a p p a r e n tly sp o n tan eo u s o r d e r in g . In c o n t r a s t
t o th e p im p le seq u en ces o f e v e n ts in w hich t tie r e i s o f te n
35.

L eonard M e y e i,'M u sic, th e A rts and I d e a s , (C h icag o , The


U n iv e r s ity o f C h i c a g o P r e s s , 1967) p . 313. \

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61

an o b se rv a b le long range o rd e rin g , th e c i r c l e m usic, or any


o f th e p assag es which c o n s i s t o f a s u p e rp o s itio n o f d i f f e r e n t
c y c le s of m a te r ia l, p re s e n t a complex and r e l a t i v e l y
u n p re d ic ta b le f lu x o f e v e n ts which o fte n forms a lo n g e r range
t e x t u r a l g e s tu re in th e g ra d u a l r i s e and f a l l in th e d e n s ity o f
a c tiv ity .

Two im p o rtan t long range forms o r idiom s which can be


d is tin g u is h e d in Crumb's m usic sure th e a rc h form and n a r r a tiv e
A
^
c u rv e , b o th o f which can be reg ard ed as form al a rc h e ty p e 's, in
w e ste rn m usic and b o th o f which may a ls o be found i n low er le v e ls
o f p a tte r n in g in th e su c c e ssio n o f i s o l a t e d g e s t u r e s , and in th e
g e n e ra l d ram a tic and dynamic developm ent o f a c t i v i t y .

The sen se

o f lo n g -ran g e h ie ra rc h y in Crumb's m usic can be c l e a r l y seen


in th e f a c t t h a t alm ost a l l o f h i s works c o n s is t o f a number

\
%

o f d i s t i n c t l y d i f f e r e n t s h o r te r p ie c e s

o t

e p is o d e s w hich, in t h e i r

s u c c e s s io n , im ply a type o f long range a rc h form o r n a r r a tiv e


cu rv e (o fte n b o t h ) .

Each o f th e s h o r te r s e c tio n s in tu rn has

i t s own p a tte r n in g a s a l i n e a r s u c c e ss io n o f e v e n ts or a s an
e v e n t complex, e i t h e r o f which may a ls o form a ty p e of m iddle
ran g e dynamic g e s tu r e ( i . e . a ty p e of dynamic grow th a n d /o r
re c e ssim w ith in th e s h o r t e r e p is o d e s ) .

Both th e lo n g range a rc h

form and th e n a r r a t i v e curve may be lo o s e ly re g a rd e d as goal


d i r e c te d forms s in c e th ey e s t a b l i s h an o b se rv a b le r e l a t i o n
betw een th e in s ta n ta n e o u s p r e s e n t and th e s t r u c t u r e o f th e
( )

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

V7

62

^ |

w hole work and c r e a t e a b a s i s i f o n ly a vague and te n u o u s


one (as i s o f te n th e c a se i n Crum b's m usic) f o r th e a n t i c i p a t i o n
o f f u tu r e .- e v e n ts .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

63

CHAPTER I I I :

ANALYSIS OF SELECTED WORKS

/
In d is c u s s in g th e g e n e ra l f e a tu r e s o f Crumb's m u sic a l
la n g u a g e , i t was seen t h a t h i s p a r t i c u l a r tre a tm e n t o f m u sica l
tim e em brances a number o f f a m i l i a r i f n o t a rc h e ty p a l form al
o r g a nIiz a tio n s : s u c c e s s iv e v a r ie d r e i t e r a t i o n , e x a c t
r i t u a l i s t i c r e p e t i t i o n , th e e v e n t com plex, and lo n g e r ran g e forms
in th e s u c c e s s io n o f in d iv id u a l p a ssa g e s and in th e g e n e ra l
dynamic growth w ith in th e w ork.

In h is co m b in atio n o f th e s e

p a r t i c u l a r idiom s w ith h is se le c tio n o f b a s i c m u sica l m a t e r i a l .


Crumb d e r iv e s unique and i n t e r e s t i n g o r g a n iz a tio n s o f m u sica l
e x p e rie n c e .

The d is c u s s io n t u r n s i n t h i s c h a p te r to a more

d e t a i l e d a n a ly s is o f Crumb's tre a tm e n t o f m u sica l tim e in


fo u r s e l e c t e d w orks, Echoes o f Time and t h e R iv e r, Lux A e te m a ,
Dream S eq u en ces, and Music f o r a Summer E vening (Makrokosmos
III) .

Echoes o f Time and th e R iv e r i s in many ways a s i g n i f i c a n t '


%
work i n Crum b's o u tp u t. I t i s th e f i r s t o f h is e s t a b l i s h e d
s t y l e t o use th e f u l l o r c h e s t r a , th e f i r s t to make c o n s i s t e n t
use o f t h e a t r i c g e s t u r e , and i t would a ls o appear to be among
th e f i r s t o f Crum b's works in which th e r e i s a s tro n g s im u la tio n
o f r i t u a l e x p e rie n c e .

In a d d itio n ^ th e s e f e a t u r e s t h e r e i s a

s u g g e s tio n o f a p o s s ib le p e rs o n a l m eaning f o r th e composer


in th e s e l e c t i o n o f m a te r ia l such a s th e chain te d and w h isp ered
p h r a s e s , 'M ontani sem per l i b e r i '

("M ountaineers a re alw ays fr e e " )

R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

64

( j

th e m otto o f Crum b's home s t a t e , West V ir g in ia , and 'l o s


a rc o s r o t o s donde s u f f r e e l tie m p o ' (th e broken a rc h e s where
tim e s u f f e r s ) a fragm ent from L o r c a 's G aecela de l a T e r r i b le
P r e s e n c ia , b o th o f which Crumb c la im s in t h e n o te s to be
i n ti m a t e l y co n n ected w ith th e se n se o f th e m usic.

T his i s no

doubt an im p o rta n t a s p e c t o f Crum b's c o n c e p tio n and r e a l i z a t i o n


o f th e c o m p o sitio n , b u t i t sh o u ld be s t r e s s e d , a s Crumb
has h im s e lf i n th e n o te s , t h a t th e work i s n o t program m atic,
and th e l i s t e n e r i s le d to e x p e rie n c e any h id d en s t r u c t u r a l
meaning i n p u re ly m u sical term s ^ith< l i t t l e

knowledge o f a

h id d en m eaning.
W
*

i
I t i s i n t e r e s t i n g to n o te a t th e o u ts e t o f th ev a n a

5i s ,

some comments which Crumb makes in th e perform ance n o te s


re g a r d in g th e t h e a t r i c a s p e c t o f th e work and i t s p o e tic
e v o c a tio n ,.
"The 'r i v e r o f tim e ' i s an a n c ie n t m etaphor
which i n t e r p r e t s tim e as a c o n tin u ity w ith o u t
b e g in n in g o r en d . I have f u r t h e r im p lied th e
co n ce p t o f c o n tin u ity by s t r u c t u r i n g a number
of 'p r o c e s s i o n a l s ' i n t o my s c o r e . These
p r o c e s s io n a ls , c o n ce iv e d a s b o th v is u a l and
s o n ic e v e n ts , a re e x e c u te d by sm a ll bands o f
p e r c u s s io n i s ts and wind p la y e rs who m ust
~ perform w h ile m a rc h in g ."
Thus i n th e t i t l e o f th e w ork. Crumb has im p lie d

a ty p e

o f tem p o ra l o r d e r , and has drawn upon a r i c h re s o u rc e o f


a s s o c i a t io n f o r th e i n t r e p r e t a t i o n o f th e m u sic a l m a t e r i a l .
37
1
As R o s a lie P e rry has o b se rv e d ,
th e r i v e r i s a common
(

36.

George Crumb, Echoes o f Time and th e R iv e r (New Y ork,


B el w in M ills , 1 9 6 7 ), p . i .

37.

R o s a lie P e r ry , op. c i t . p . *8.

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

65

image o f tim e among t h e Am erican t r a n s c e n d e n t a l i s t w r i t e r s ,


and i s v e ry pro m in en t in one o f I v e s ' m u sic a l v i s i o n s ,
' The H o u se a to n ic a t S to c k b r id g e 1 from Three P la c e s in New
E n g la n d . F u r th e r p o e ti c a s s o c i a t i o n s t h a t may be evoked by
Crum b's c h o ic e o f t i t l e and a ls o by c h o ic e o f m u sica l

m a t e r i a ls a re r e f l e c t e d in the very term 's tre a m o f c o n scio u sn ess*


w hich h a s a lre a d y f ig u r e d p ro m in e n tly in th e d is c u s s io n o f
C rum b's m usic to t h i s p o i n t .

I t sh o u ld be n o te d t h a t th e

p r o c e s s io n a l s do n o t a c t in any way as a d i r e c t s p a t i a l
d e p ic tio n o f th e r i v e r of th e t i t l e , b u t as Crumb h a s i n d ic a t e d
i n h i s n o t e s , th ey r e f l e c t th e g e n e r a l coming and p a s s in g
o f e v e n ts i n tim e , o f te n w ith v e ry i n t e r e s t i n g p re m o n itio n s ,
(

r e c o l l e c t i o n s , and i n t e r a c t i o n s betw een p l a y e r s , w hich a r e


d is p e r s e d o v e r th e e x te n d e d p erfo rm an ce sp a ce o f th e w ork.

The t i t l e s o f t h e in d iv id u a l movements a r e e q u a lly


e v o c a tiv e and se rv e t o

o r i e n t th e l i s t e n e r ' s e x p e rie n c e by

pointing t o c e r t a i n s t a t e s tof tim e c o n s c io u s n e s s w hich can be

I
f
V
I

r e l a t e d t o th e m u sic a l form .

The image o f f r o z e n tim e '

fo r

.ex am p le i s r e f l e c t e d i n a number o f ways in t h e o p e n in g movement.

I t i s h e a r d p e rh a p s a lm o st to o - l i t e r a l l y in t h e b r i t t l e c r i s t a l i n e c h im in g ( a n tiq u e cym bals in f i f t h s )

o f t h e 'p e r c u s s i o n

p r o c e s s io n a l and f u r t h e r s u g g e s te d in a 'f r o z e n ' g e s tu r e


j

assum ed by a group o f a n tiq u e cym bal p la y e r s a t tn e back


rig h t o

who (once h a lfw a y th ro u g h th e o p en in g

p r o c e s s io n a l and once a f t e r th e p e r c u s s i o n i s t s have re a c h e d

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

66

t h e i r p la c e s o n stag e) s t r i k e a re s o u n d in g ch o rd a t w hich
p o i n t th e m usic and p r o c e s s io n a l a r e m o m en tarily h a l t e d .

A f u r t h e r im p re ssio n o f 'f r o z e n t i m e 1 w hich i s c r e a te d in t h i s


movement i s f e l f in th e s i l e n c e w hich s e p a r a t e s th e p r i n c i p a l
p a ssa g e s a s i f th e y w ere m u tu a lly i s o l a t e d in tim e.

The t i t l e o f th e secdnd movement 'Remembrance o f Tim e'


would a p p e a r to be r e f l e c t e d o n ly i n th e f i n a l sequence w ith
a r e c a l l o f th e op en in g chim ing tim b re ( from ' F rozen Tim e')
w hich i s superim posed upon a s e re n e and h a u n tin g re m in is c e n c e
o f th e

f i n a l l i n e o f th e Negro s p i r i t u a l "Were You T here When

They C r u c if i e d My L ord?" (in harm onies i n the v i o l i n s , and


t

b a r e ly r e c o g n iz a b le b e c a u se o f th e se g m e n ta tio n o f th e
>

m elo d ic l i n e i n to a number o f s h o r t e r

i
t
i
i
t
f
I
ss'
_i

s s tu re s ).

In t h e t h i r d movement, ho w ev er, th e r e em erges am o b s e rv a b le


s u c c e s s io n o f e v e n ts w hich i s d i r e c t l y s u g g e s te d in th e t i t l e .
The 'C o lla p s e o f Time' is d e p ic te d i n a g r a d u a lly b u ild in g
o s te n a to c re s c e n d o (as th e briss p l a y e r s a r r i v e in t h e i r p r o

c e s s io n a l and th e woodwinds le a v e ) w hich e r u p ts c l i m a c t i c a l l y


in a r e c u r r e n c e o f th e s t r i n g 's g lis s a n d o complex o f 'F ro z e n
Time' (See O u tlin e o f th e P r i n c i p a l P assag es o f :Echoes o f
Time and t h e R iv er , page 69 ) as i f tim e were r e p e a t i n g i t s e l f .

An e x a m in a tio n o f th e s c o re i n t h i s movement r e v e a l s
an even more e la b o r a te r e a l i z a t i o n o f t h e image o f t h e t i t l e .

\
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67

( i

From th e o p e n in g o f th e movement t o th e b e g in n in g o f th e o s t i n a t o
i s a c o n t i n u a l l y echoed rh y th m ic , t e x t u a l g e s t u r e , k r e k tu d a i ' ,
w h isp e re d lo u d ly by a l l

o f th e s t r i n g s w ith h ig h p ie r c in g

p ia n o c h o rd s and low gong sounds a t th e o p e n in g , b u t


g r a d u a lly b e in g a tt e n u a t e d u n t i l i t i s m erely f a i n t low
r e g i s t e r p ia n o c l u s t e r ,
th e seven

and a s l i g h t tarn tam s t r o k e .

fo ld < r e p e titio n

Through

o f th e o s t* n a to rhythm , t h i s g ra d u a l

f a d e - o u t i s r e v e r s e d in th e r e g i s t r a t i o n o f th e p ia n o c h o rd s
and th e m ounting .c re s c e n d o o f 'k r e k t u d a i ' , re a c h in g th e
c lim a x w ith t h e r e t u r n o f th e p ia n o c h o rd s to t h e i r r e g i s t r a t i o n
o f opening o f th e movement.

C e r ta in l y w ith th e g ra d u a l b u i l d

up o f sounds i n th e b r a s s and s t r i n g s , th e s e d e t a i l s would go


^

u n n o tic e d by th e l i s t e n e r , b u t th e g e n e r a l r e v e r s a l o f th e
'k r e k t u d a i ' dim inuendo would be q u i t e a p p a re n t i n th e
huge c re s c e n d o and th e e v e n tu a l s h o u tin g o f t h i s p h ra s e a t th e
c lim a x .

The p o in t a t w hich t h i s r e v e r s a l b e g in s i s s i g n i f i c a n t l y

t h e tem p o ra l goldeK mean o f th e w hole w ork, r e f l e c t i n g a


c o m b in atio n o f th e n a r r a t i v e c u rv e and a rc h s t r u c t u r e i n t h e
la r g e s c a le m u s ic a l, d ra m a tic form .

In term s o f m u sic a l tim e ,

th e h e ig h t o f th e o s te n a to i s a ls o t h e p o in t o f h ig h e s t
a n t i c i p a t i o n in th e w ork.

The sudden 'r e l a p s e ' i n to .the s t r i n g

g lis s a n d o com plex a t t h i s p o in t may be ta k e n

a s a m u sic a l

r e p r e s e n t a t i o n o f d i s c o n t i n u i t y w hich w i l l be d is c u s s e d l a t e r .

The id e a o f a 'c o l l a p s e ' o f tim e r e c e iv e s f u r t h e r


( .)

e la b o r a t i o n i n th e rhythm ic freedom o f th e c i r c l e '

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68

m usic which i s echoed among th e b ra s s p la y e rs on stag e and


o f f s t a g e and which i s based a lm o st e n t i r e l y on r e c a l l e d m a te r ia l
from e a r l i e r i n th e work.

L a s t EcHoes o f Time (th e f o u r th movement) .as th e t i t l e


im p lie s , c o n tin u e s th e re tro g ra d e d

th e m a tic d i r e c t i o n of

t h e m usic, r e c a l l i n g i s o l a t e d e le m e n ts from many p re v io u s


p a ssa g e s in t h e work in two e la tb o ra te echo complexes whifch a re
fo llo w ed by t h e c o n clu d in g p r o c e s s io n a ls .

.JThe d i f f i c u l t y in any a n a ly s is o f m usical tim e i s t h a t


th e a c tu a l m u sica l e x p e rie n c e r e s u l t s from a sim u ltan eo u s
^

aw areness of th e d i f f e r e n t l e v e ls o f form al p ro c e s s .

V e rb a lly ,

t h e o r i s t s a re lim ite d to d is c u s s in g one a s p e c t o f form a t a


tim e , u n le s s .th e y a re p re p a re d to r e s o r t t o a h ig h ly s u b j e c t iv e ,
e v e n t by e v e n t d e s c r ip tio n of a work.

The approach ta k e n h e re

w i l l be to g iv e a g e n e ra l l i s t i n g of tim in g s and s t r u c t u r a l
d e s c r i p t io n s o f th e main p a ssa g e s as a re fe re n c e to th e la r g e
s c a le d u r a tio n and s u c c e s s io n .

The m ost s u i t a b l e p a ra m eters

f o r th e d is c u s s io n o f d e t a i l i n t h i s work, t h e a t r i c , d ra m a tic
developm ent, t e x t u r a l d e s ig n , and th e h ie ra rc h y o f rhythm s,
and d u r a t i o n s , w i l l be a n a ly s e d and r e l a t e d in d iv id u a lly in
term s o f t h e i r r e s p e c tiv e r o l e s in t h e g e n e ra l e s t h e t i c e f f e c t .

As in d ic a te d , in t h e o u tlin e (Table I I
(

t
Page 6 9 ), th e work

b e g in s w ith a slow r i t u a l i s t i c p r o c e s s io n a l (even th e f o o t


s te p s a re g iv e n i n a s p e c i f i c p a tt e r n ) in which a group o f

R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

O
CD
Q.

with permission of the copyright owner. Further reproduction prohibited without permission.

TABLE I I ;

OUTLINE OF PRINCIPAL PASSAGES OF 'ECHOES OF TIME AND THE RIVER'


(tim in g s b a s e d upon th e s c o re and r e c o r d in g o f th e work by
The L o u i s v i l l e O r c h e s tr a Under J o rg e M ester)
C lock Time

' F ro zen
Tim e'

D u ra tio n

S t r u c t u r a l D e s c r ip tio n

0 : 0 0 - 1 :1 0

70"

- two su p e rim p o sed c y c le s o f m a t e r i a l r e s u l t i n g in


a com plex s u c c e s s io n o f r e c u r r e n t tim b re s and
g e s t u r e s d u r in g w hich th e p r o c e s s io n a l p e r c u s s io n
gro u p comes p a r t way o n s ta g e - i n t e r r u p t e d by th e
'f r o z e n ' c h o rd g e s t u r e

1 :1 0 -2 :1 3

68

- r e p e t i t i o n o f t h e p r e c e e d in g com plex w ith s u b t l e


a lte ra tio n s
3
- p e r c u s s io n p r o c e s s i o n a l " j o i n s o n s ta g e p e r c u s s i o n i s t s

2 :1 3 -2 :2 5

12"

- re s o n a n c e o f low p ia n o s t r i n g s fo llo w e d by "g h o stly


b e l l s - a dim inuendo se q u en c e o f p ia n o h a rm o n ics

:2 5 -3 :2 2

57"

- two s u c c e s s iv e com plexes o f i n te n s e o v e r la p p in g


g l is s a n d o l i n e s i n t h e s t r i n g s - f a d in g o u t to
tem o lo g l i s s a n d i i n th e b a s s e s

3 :2 2 -3 :3 4

12

- low re s o n a n c e p lu s g h o s t l y b e l l s "

^ 3 :3 4 -4 :4 0

66"

- m an d o lin le a v e s s ta g e e c h o in g a rp e g g ia n d o f i g u r e in
a. slow se q u en c e w ith e ch o e s o f th e g l a s s chim es and
a trem o lo m elody on th e p ia n o s t r i n g s

' 1Remembrance
o f Tim e'
4 :4 0 -5 :4 7

67"

inAllitAeBri- -

' 11

.- k-

sim p le se q u en c e o f e v e n t s : ex ch an g e o f s h o r t g e s t u r e s
betw een p ia n o s and h a rp - p i t c h b e n d in g f i g u r e
(vbph) sound o f w ind and w h is p e rin g o f L o rca fra g m e n t
(by b r a s s p l a y e r s o n s ta g e ) a g a i n s t t r i l l e d b a ck g ro u n d
am bience
...

----- *-

_______ ________ * ______

a\
<o

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

C lock Time

D u ra tio n

S t r u c t u r a l D e s c r ip tio n
r e p e t i t i o n o f th e above se q u e n c e w ith s u b t l e
a lte ra tio n s

5 :4 7 -6 :2 0

33"

c o n tin u e d t r i l l e d am bience - r e i t e r a t i o n o f 'w in d


s o u n d ', 'b e n d in g ' f i g u r e - s h o r t com plex o f
g l is s a n d o h a rm o n ic s in b a s s e s d u r in g w hich t h e b r a s s
p l a y e r s le a v e s ta g e - fo llo w e d by ^

6 :2 0 -7 :2 0

60"

a g a i n s t t r i l l e d b ack g ro u n d a m b ie n c e , e c h o in g o f
'b e n d in g ' f i g u r e and th e n o f tre m o la n d o f i g u r e
betw een f l u t e s , c l a r i n e t s and o f f s t a g e h o rn s d u r in g
w hich f l u t e s and c l a r i n e t s f i l e o n s ta g e i n a
p r o c e s s io n a l and ta k e t h e i r . p l a c e i n f r o n t o f th e
p ia n o s

7 :2 0 -8 :1 0

50"

c l a r i n e t c i r c l e m usic - e x u b e r e n t com plex o f a c t i v i t y


- e c h o in g in s u c c e s s iv e e n t r i e s o f c l a r i n e t s c u lm in
a t i n g i n a w i l d ly ru n n in g s o lo p a s s a g e w hich i s
im m ita te d and s u p e rs e d e d by a ru n n in g p a s s a g e i n th e
low r e g i s t e r o f t h e p ia n o

8 :1 0 -8 :3 0

20"

low r e g i s t e r p ia n o c l u s t e r fo llo w e d by a r a p i d
drumming p a t t e r n , on ta m b o u rin e (p la c e d upon p ia n o
s t r i n g s ) and t h e i n t e n s e chordaL e n t r y o f s t r i n g s
s u b s id in g i n a g r a d u a l ly a c c e l e r a t i n g t r i l l and
g l is s a n d o

8 :3 0 - 9 :2 0

50"

f l u t e c i r c l e m u sic - r e p e t i t i o n o f t h a t o f c l a r i n e t
- c u lm in a tin g s i m i l a r l y i n s o lo p a s s a g e w hich i s
im m ita te d i n low r e g i s t e r o f p ia n o

9 :2 0 - 9 :5 0

25"

se q u e n c e o f e v e n t s :
low r e g i s t e r p ia n o c l u s t e r r a p i d drumming p a t t e r n on ta m b o u rin e - s t a r k , slo w
rh y th m ic f i g u r e echoed b etw een p ia n o s (on ta m b o u rin e s)
fo llo w e d by
r e - e c h o in g o f rh y th m ic f i g u r e ( in p n o .) ,

'

CD-5o
O
Q.
C
o
CD

Q.

with permission of the copyright owner. Further reproduction prohibited without permission.

60"

slo w e c h o in g o f a h ig h c r i s t a l i n e ch im in g
(v ib ra p h o n e and g lo c k e n s p i e l ) a g a i n s t
seg m en ted r e m in is c e n c e ' >of n e g ro s p i r i t u a l i n
s trin g s . '

'C o lla p s e o f
T im e'
1 0 :5 0 -1 1 :5 0

60"

se q u e n c e o f e v e n t s :
" k re k t u ^ d a i ! " c h a n te d tw ic e
- (se v e n se c o n d tam tam and low r e g i s t e r p ia n o
re s o n a n c e on ' d a i ' on e a c h r e p e t i t i o n ) fo llo w e d
by a s h o r t segm ented x y lo p h o n e s o lo a g a i n s t
t r i l l e d b a c k g ro u n d am bience ( s l e i g h b e l l s ) t r i l l e d am bience i s th e n s u s t a i n e d th ro u g h a
h ig h 'r u s t l i n g ' i n th e s t r i n g s (b e h in d t h e b r id g e
c a r p e g g i a ti o n s ) and 'w in d so u n d ' ( f l u t e s , c l a r i n e t s
and p e r c u s s i o n i s t s )

1 1 :5 0 -1 2 :5 0

60"

se q u e n c e o f e v e n t s :
" k re k t u
t r i l l e d b a ck g ro u n d am bience tre m o lo and 'b e n d i n g ' f i g u r e s
a f u r t h e r ech o o f 'k re k t u dai*
by t h e e c h o e s o f k re k t u d a i

1 2 :5 0 -1 3 :2 0

30"

v e ry slo w o s t e n a t o rh y th m i n p e r c u s s io n and p ia n o s
r e p e t i t i o n s o f a t h r e e r o l e f i g u r e i n b r a s s and
"k re k t u d a i" i n s t r i n g s - g r a d u a l b u i l d in i n t e n s i t y
and c o m p le x ity d u r in g w h ich th e c l a r i n e t s and f l u t e s
le a v e t h e s t a g e i n a p r o c e s s i o n a l and a r e r e p la c e d
by two b r a s s g ro u p s

1 3 :2 0 -1 3 :5 0

30"

s t r i n g g l is s a n d o com plex - s i m i l a r t o t h a t o f
'F r o z e n T im e' - f a d in g o u t i n t o a s o lo b a s s tr e m e lo
g l is s a n d o

1 3 :5 0 -1 5 :3 0

1*40"

9 :5 0 -1 0 :5 0

d a i t " (once) r e t u r n o f
a r e c a l l o f th e
in th e c l a r i n e t s - ech o o f c l a r i n e t s

b r a s s c i r c l e m u sic - f l u x o f m a t e r i a l o v e r la p p in g
f i g u r e s - some n o t i c e a b l e r e p e t i t i o n s - com plex
d i e s o u t a s e a c h g ro u p f i n i s h e s i t s m a t e r i a l w ith
t h e r i n g i n g o f a f i n g e r cym bal

^
m

.
j
i
I

-n

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

'L a s t E choes
o f Tim e1
1 5 ;3 0 -1 6 :5 5

ech o com plex i n t r i c a t e s u p e r p o s i t i o n o f i s o l a t e d


p h r a s e s and g e s t u r e s

1 6 :5 5 -1 8 :0 0

ech o com plex s i m i l a r t o p r e c e e d in g p a s s a g e s l i g h t th e m a tic a l t e r a t i o n s an d c h a n g e s i n p i t c h


and i i n s t r u m e n t a t i o n

1 8 :0 0 -2 0 :0 5

2 ' 05"

p r o c e s s i o n a l s i n w hich t h e b ra L s g ro u p s and th e n
p e r c u s s io n g ro u p s l e a v e t h e s t a g e - s u p e r p o s i t i o n
o f th e re p e a te d m a te r ia ls o f th e p ro c e s s io n a l
p l a y e r s and w h i s t l e d p o rtm e n to o s t e n a t o among
s trin g s

73

p e r c u s s i o n i s t s from o f f s t a g e g ra d u a lly ta k e t h e i r p lac es b esid e,


th e o n sta g e p e r c u s s i o n i s t s .

W ithout m aking a commitment a s

t o th e in te n d e d i n t e r p r e t a t i o n (some l i s t e n e r s may see th e


t

e v e n t as p u r e ly r i t u a l i s t i c , o r o th e r s m ight se n se a t h e a t r i c
i n t e r a c t i o n o f 'b e c k o n in g ' o r 's e a r c h in g out and f i n d in g ' in th e
a n tip h o n a 1 exchange betw een the o n s ta g e and o f f s t a g e p e rc u s s io n
i s t s ) i t can be seen t h a t th e t h e a t r i c movement o f th e p la y e r s
i s a g o a l d i r e c te d e v e n t, b e a rin g a n a t u r a l im p lic a tio n which
r a i s e s t h e q u e s tio n , a s t o where th e p r o c e s s io n a l group i s g o in g ,
and a c l e a r l y re c o g n iz a b le and l o g i c a l r e a l i z a t i o n in t h e i r
a r r i v a l b e s id e t h e i r c o u n te r p a r ts o n s ta g e .

Subsequent p r o c e s s io n a l movements, such a s th e seem ingly


e a r l y d e p a rtu re s o f t h e m andolin a t th e end o f 'F ro z e n Time"
and th e b r i e f a p p earan ce o f some b ra s s p la y e r s who lea v e a f t e r
w h isp e rin g a L orca fra g m e n t, can only be a c c e p te d a s u n f o r s e e a b le o c c u rra n c e s in t h e g e n e ra l r i t u a l i s t i c ,

'stream o f c o n scio u s-

f '

n ess'

o r d e r o f e v e n ts .

They d o , however s e rv e t o expand th e

meaning o f th e p erform ance sp a c e , and f u r t h e r d evelop th e se n se


o f a t r a n s i t o r y s ta g e p re s e n c e .

Not o n ly do p la y e r s a t t h i s

p o i n t a p p e a r t o be a b le t o come o n sta g e from

th e 'b e y o n d ',

b u t i t i s a ls o p o s s ib l e f o r them t o r e t u r n o f f s t a g e from t h e i r
p o s i t i o n s o n s ta g e .

The movement o f f s t a g e i s a n a tu r a l and

t r a d i t i o n a l s u g g e s tio n o f p a t t e r n c lo s u r e w hich g a in s i n s i g

n i f ic a n c e a s th e work p r o g r e s s e s .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

W ith th b .p ro c e s s io n a l e n tr a n c e o f th e c l a r i n e t s , and f l u t e s ,
()

a f u r t h e r i n t e r a c t i o n ify * im p lied f n th e e c h o in g .,o f a 'p i t c h


bending* f i g u r e (a g lis s a n d o o f a q u a r t e r to n s down from af
*;
1
s i n g l e p i t c h , in th e f o i l i n g rhythm : ) from th e v i b r a

"

phone,? t o th e c l a r i n e t s and f l u t e s a s th e y come o n s ta g e (w alk in g


' .
> '
*

i n th e same rhythm a s th e b e n d in g f ig u r e ) and th e h o rn s who


ech o th e f i g u r e from a d i s t a n c e o f f s t a g e , (see exam ple 4, page 83)

The d e p a r tu r e o f th e wopdwinds d u rin g th e o s t e n a t o o f th e


'd b l l a p s e o f Tim e' and t h e i r re p la c e m e n tfb e s id e -th e two p ia n o s
o n s ta g e h a s an in h e r e n t s p a t i a l l o g i c a n d ^ L m p lic a tio n o f 'r e p e
titiv e

p r o c e s s aridform aul sym m etry.


It? sh o u ld be n o te d t h a t
\
t
>
th e d ra m a tic e x ch a n g l betw een th e p re s e n c e o f f s t a g e and O nstage
is- n o t l i m i t e d t o th e p r o c e s s i o n a l s .

O ffs ta g e b r a s s p la y e r s

make prom ineA t i n t e r j e c t i o n s a t v a r io u s p o in ts o f h e .p ie c e *


TheV a r e h e a r d a lm o st a s a fo resh ad o w in g (a low r e g i s t e X g l i s sando f i g u r e ) i n th e o p e n in g momenta o4 th e p i e c e , and a lh o
'. v
.
;

d u r in g t h e c i r c l e m usics q f th e f l u t e s and c l a r i n e t s
i n th e
X
' k
1v *
'Remembrance o f T im e '. P a r t i c u l a r l y a t th e end o f t h e b r a s s '
c i r c l e m usic o f idle 'C o lla p k e o f T im e ', th e o f f s t a g e p re s e n c e
*
,
i s h e a rd i n t h e f i n a l f a i n t e c h o in g o f a f i n g e r cym bal chim e
v

.which s u c c e s s i v e l y 't e r m i n a t e s e a c h c y c le o f th e c i r c l e m u sic . <


*
i

#
, The ' L ast^ E ch o es o f T im e' b r i n g s t h e t h e a t r i c d ev elo p m en t
*

ri

o f th e work t o a m e a n in g fu l c o n c lu s io n , c r e a t i n g a ty p e o f a rc h
form and sym m etric b a la n c e i n th e o r d e r o f e v e n ts . The moveA f
i
merit b e g in s w ith an echo com plex i n w hich a n tiq u e cym bal p la y e r s
*'

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

75
(woodwind f l a y e r s who had l e f t th e s ta g e d u ririg ,th e 'C o lla p s e
o f T im e') come to th e f r o n t l e f t edge o f th e sta g e and re c e d e
o f f s t a g e a g a in a f t e r t h e i r echo o f th e opening chim es.
>4

T his

may he seen to ^ sy m m e tric a lly b a la n c e t h e vp resen c e o f th e cymbal


p la y e r s who were a t th e back ,r i g h t o f th e sta g e d u rin g th e
opening p r o c e s s io n a l.

A f u r t h e r s / a t i a l symmetry can be seen

in he d e p a rtu re o f th e b r a s s groups who c r o s s - p a th s and p ro ceed i n o p p o s ite d i r e c ti o n s o f f s t a g e .

F in a lly th e p e rc u s s io n -

V^ i s t s r e t r a c e t h e i r s te p s o f th e opening p r o c e s s io n a l, b rin g in g

th e work

f u l l c i r c l e and r e s t o r i n g th e s p a t i a l o rd e r which e x

is te d a t

th e open in g .

The s t r i n g s , a lth o u g h th e y do n o t p a r t i c i p a t e i n any o f


^
*
th e p r o f e s s i o n a l s , have a v e ry im p o rta n t t h e a t r i c and d ra m a tic
t>

i d e n t i t y . Not u n lik e th e c h o ru s o f a Greek tra g e d y , th e y a re


s t a t i o n a r y , o n sta g e bef& re th e d ra m a tic a c tio n b e g in s and a f t e r
i t h as en d ed .

T h e ir in te n s e g lis s a n d o complex would ap p ear

t o be a f o c a l p o in t o f th e d ra m a tic a c t i o n , g iven in i s o l a t i o n
in th e opening movement arid a s a c u lm in a tin g p o in t i n th e flbw
o f e v e n ts in th e 'C o lla p s e o f T im e '. The s t r i n g s s i m i l a r l y
*
have an im p o rta n t r o l e i n th e g e n e r a l d ra m a tic momentum in t h e i r
i n te n s e im passioned e n try a f t e r th e c l a r i n e t c i r c l e m usic in
i-

*>

' Remembrance o f T im e ', t h e i r s e re n e re m in isce n ce o f th e negro


s p i r i t u a l ' a t th e end o f ' Rememberance o f T im e', t h e i r p o rte n te o u s
^ w h isp e rin g o f th e p h o n e tic frag m en t 'k r e k t u d a i ' i n 'C b llap se
o f Tim e' and*in t h e i r g e n tle w h is tlin g o f a .p o rta m e n to f ig u r e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

and the o s c i l a t i n g fo u rth s a t t h e c lo s e o f th e work.

Cl

\
f

As c a n ^ e imagined from th e t i t l e of th e work, the fecho'


o r more g en erally '^ v a rio u s in s ta n c e s o f r e p e t i t i o n , re c u rra n d e
and r e i t e r a t i o n a re to be found in a l l le v e ls of s t r u c t u r e from
th e sequence o f is o la te d e v e n ts t o th e su c ce ssio n of lo n g e r p a s 4

sa g e s.

Examples o f immediate *echoings a re seen i n both s h o r t

g e s tu r e s (see example 2, page 7 7 , th e p ia n o s t r i n g trem olo


m elodies) and lo n g e r lin e s (as i n th e c i r c l e m usic, example 3,
page 78) th u s c r e a tin g a momentary b l u r r in g in th e s h o r t o v er
lap p in g g e s tu r e s o r a more extended complex te x tu r e in xth e
s u p e rp o s itio n o f lo n g e r p a s s a g e s .

The m ost r e a d ily a p p a re n t

<y

echoing i s h e a rd in sim ple r e p e t i t i v e sequences o f g e s tu r e s ,


t

(see example 3 , page 78) th e ech o in g o f th e g lo c k e n s p ie l and


v ib rap h o n e f i f t h s ) which a t a slow tempo g iv e r i s e t p a more
p r e d i c t a b l e. , rhythm
ic sen se of r e i t e r a t i o n .
4

The sense o f echo

'

r e p e t i t i o n can a ls o be u n d e rsto o d in th j.s p ie c e i n th e imm ediate


r e p e t i t i o n o f whole p assages o f m a te r ia l (as i ^ t h e opening
two p ro c e s s io n a l c y c le s o f 'F ro ze n Time' and the two echo com
p le x e s which b e g in 'L a s t Echoes o f T im e') b u t th e s e do n o t have
A

th e same a c o u s tic semblance o f a r e a l echo ( i . e . th e r e i t e r a t i o n s


f a i n t e r and l e s s d i s t i n c t ) as do th e s h o r te r ran g e r e p e t i ^
i.
t i o n s . The o th e f r e p e t i t i o n ty p e which' i s heard in t h i s work
can be r e f e r r e d t o a s a ' r e t u r n ' , o r more sim ply a r e c u rra n c e
o f m a te r ia l aftefc th e re h as b een a s i g n i f i c a n t d e p a rtu re from i t

38

See Leonard Meyer, Emotion and M eaning, pg. 152."


1

R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

EXAMPLE I I I :

FLUTE CIRCLE MUSIC AND CLOSING EPISODE OF


'REMEMBRANCE OF TIME'

r.

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79

T h is w i l l be se en m ost e f f e c t i v e l y i n th e long ran g e th e m a tic

and t e x t u r a l developm ent, b u t can a l s o be o b se rv ed w ith in i n *

d iv id u a l m ovem ents.

The s t r i n g g lis s a n d o complex a t th e clim ax

i s a good exam ple o f a lo n g range r e tu r n .Nbecause o f th e s i g n i f i c a n t amount o f m a te r ia l and tim e which h a s in te rv e n e d s in c e


i t s f i r s t o c c u ra n c e in 'F ro z e n T i,m e'.

A retur^n o v e r a s h o r t e r
*
tim e span i s seen in th e re c u rra n c e o f th e 'g h o s tl y b e l l s ' xn
'F ro z e n Tim e' (h eard f i r s t d i r e c t l y b e f o r e th e s t r i n g g lis s a n d o
complex and th e n a g a in d i r e c t l y a f t e r i t ) which im p lie s a 4ype
o f low l e v e l a rc h form i n t h i s movement.

The p r i n c i p l e o f s u c c e s s iv e c o m p a riso h ,; f i g u r e s p ro m in e n tly

i n th e e x p e rie n c e o f th e s h o r t e r ra n g e e c h o e s , p a r t i c u l a r l y
*
(

i n a slow tempo and a r e l a t i v e l y sim p le t e x t u r e where t h e l i s t ^ a e r


cam g ra sp any d e t a i l s of. d e v ia tio n i n th e s u c c e s s iv e r e i t e r a t i o n s .
I t i s i n t e r e s t i n g t o n o te th e le n g th o f t h e p e rio d s betw een
i

r e i t e r a t i o n s in th e s e p a ssa g e s - a t th e end o f 'F ro z e n T im e ', f


tw e lv e se c o n d s betw een s u c c e s s iv e g l a s s chim e r e i t e r a t i o n s
,

'

(s e e exam ple 2 , page 7 7 ), s i x seco n d s betw een r e i t e r a t i o n s


o f th e c jp itc h b in d in g f i g u r e in ' Rememberance o f Tim e' (gage ^
5 and 6 o f s c o r e ) , e ig h t seconds betw een a n tiq u e cymbal chim es
at th e end o f ' Remembrance o f Time* (se e exam ple 3 , page
78, a
VI
f a i n t ' echo o f th e a n tiq u e cymbal in t h e v ib ra p h o n e i s a l s o h e a r d .
midway b etw een each o f th e a n tiq u e cym bal \chim es) , around f i v e
seco n d s betw een ech o es o f th e 'k r e k t u d a i ' f i g u r e in 'C o lla p s e
1

o f. Time' b e f o r e th e o s t e n a t o , and t e n seco n d s betw een r e i t e r a -

tio r is o f a l l f i g u r e s (in c lu d in g th e a n tiq u e cymbal chim ing a g a in )

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

80

in th e opening echo com plexes o f 'L a s t E choes of T im e '. In


th e opening p e rc u s s io n p r o c e s s io n a ls o f 'F ro z e n Time' and th e

If

c lo s in g ^ p ro c e ssio n a ls o f 'L a s t Echoes o f /Tim e1, i t i s p o s s ib le


to n o tic e th e same slow p a c in g o f r e i t e r a t i o n b u t b ecau se o f t h e
su p e rp o se d C y c le s o f m a te r ia l (in th e d i f f e r e n t p r o c e s s io n a l
groups) no o v e r a l l r e g u l a r i t y o f p a c in g em erg es.

4.

The 'F ro ze n

Tim e' p r o c e s s io n a ls a re n e v e r th e le s s good exam ples o f s u c c e s s iv e


com parison b e c a u se o f th e r i c h though u n p r e d ic ta b le echoing o f
th e a n tiq u e cym bal chim ing i n th e d i f f e r e n t cymbal p i tc h e s o f
th e o n sta g e and frro c e s s io n a l groups and i n th e d i f f e r e n t tim b r e s
in tro d u c e d i n tlie gongs and v ib ra p h o n e .

The a n ^ j^ u e cymbal

i s , a p a r t i c u l a r l y usefvty in s tru m e n t in t h i s ty p e o f c o n te x t
f o t b o th i t s lo n g and i n t e r e s t i n g re s o n a n c e p e rio d (when s t r u c k
V*
,sfz) and i t s a b i l i t y to p e n e tr a te th e more complex t e x t u r e . *

In a d d it i o n to th e o p p o r tu n ity w hich th e s e slo w e r p a c in g s


/

g iv e to th e l i s t e n e r t o g ra s p th e t im b r a l s u b t l e t i e s o f th e so u n d s,
\

th e y c r e a t e a u n iq u e e f f e c t i n p u re ly rh y th m ic te rm s .

R e f e r r in g

a g a in to m a t e r i a l w hich P a u l F r a i s s e h a s p r e s e n te d i n The
Psychology o f Tim e, i t can be seen t h a t th e slow r a t e o f r e i t e r a -
t i o n in th e s e p a s s a g e s m akes t h e i r r e p e t i t i v e s e q u e n tia l o rg a n
*

i z a t i o n h a rd e r t o g ra s p p e r c e p t u a ll y .

F r a i s s e cti t e s e x p e rim e n t-

a t i o n (see p ag es 89 and 90) t h a t d e m o n s tra te s t h a t w ith more

th a n two seco n d s betw een o c c u rre n c e s , sounds a re n o t g e n e r a lly


\

judged*'to be w ith in th e same 'p e r c e p tu a l s p a n ' m eaning t h a t


t>

'

th e y do n o t fprm a se n se o f 'tem p o ' o r rh y th m ic s u c c e s s io n .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

81

S im ila r ly , w ith two o r more seconds betw een s u c c e s s iv e s t i m u l i ,

i t becomes in c r e a s in g l y d i f f i c u l t fo r a l i s t e n e r t o apprehend
more th an th r e e s t i m u l i .

(That i s , to remember, w ith o u t c o u n t

in g w h ile l i s t e n i n g , hoy many s t i m u l i w ere h e a r d .)

A lthough

i t i s d i f f i c u l t to r e l a t e u n c o n d itio n a lly t h i s in fo rm a tio n ~ to


th e more complex c o n te x t o f Crum b's m u sic, i t can be seen t h a t
th e c y c l ic r e p e t i t i v e n a tu r e of th e s e ^ p a s s a g e s w i l l n o t be f u l l y
g ra sp e d w ith o u t some 's t r e t c h i n g ' o f t|a e p e r c e p tu a l sp an .
The e f f e c t o f t h i s i s , as i n much o f C rum b's p a tte i^ jiin g , a
s tr o n g im p lic a tio n o f s e q u e n tia l d e s ig n in th e r e p e titio n - o f t h e
i n d i v i d u a l l y d i s t i n c t i v e g e s t u r e s , b u t b e c a u se o f t h e i r slow
p a c in g t^ e a c t u a l sim p le r e p e t i t i v e p r o c e s s e s a r e n o t as o b v io u s
bo th e l i s t e n e r a s th e y a r e yn. th e s c o r e .

R obert P. Morgan has cdmmented v e ry a p p r o p r ia te ly on th e


^ e le m e n t o f slow rh y th m ic p a c in g i n Crum b's m u sic.

"P erhaps m ost im p re s s iv e , h o w e v er, i s Crum b's


e x tre m e ly s e n s i t i v e h a n d lin g o f t h e slow rh y th m ic
p a c in g . I know o f no com poser w r i t in g today
, who i s a b le to p r e s e n t 4uch a s p a r s e and a t t e n
u a te d - son o ro u s image w ith o u t p ro d u c in g a c o r r e s
p o n d in g s e n s e o f form al d i s r u p t i o n . ' By various*
means - m o st p a r t i c u l a r l y , I t h i n k , by th e sp a n n in g and c o n n e c tin g o f te m p o ra lly d i s l o c a te d
segm ents th ro u g h v ery sim p le ,, even o bvious tim b r a l
and r e g i s t r a l a s s o c i a t io n s so as t o p o i n t th e
e a r t o th e l a r g e r r e l a t i o n s h i p s - he i s a b l e to
keep t h e m otion o f th e p ie c e u n d e r c o n tr o l .
In d e e d , one o f th e m o st i n t e r e s t i n g a s p e c ts
o f C rum b's m bsic i s jusfc th e t e n s io n t h a t a r i s e s
from h a v in g to w a it o v e r s u c h l o n g , spans' f o r i n t e r
r u p te d id e a s t o be ta k e n up a g a i n .

C)

39

R o b ert P. M organ, R ecords i n R eview , '1975, p ^ . 117.

V
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.

82

In c o n n e c tio n w ith M organ's rem arks i t can be n o te d t h a t


much o f th e c l a r i t y o f t h e s e q u e n tia l p a t t e r n i n g i s due to
th e

o f h ig h ly d i s t i n c t i v e m a t e r i a l s . R e p e titio n s
.
.
L
o f in d iv id u a l g e s t u r e s a r e
en made to s ta n d o u t by t h e i r
c o n t r a s t w ith th e o th e r mat

a l s in t h e i r im m ediate c o n te x t.

The n a tu re o f th e d e v ia tio n s i n ' t h e s e g ra d u a l r e i t e r a t i v e


p ro c e s s e s i s g e n e r a l l y an e x te n d e d d e c re s c e n d o , b u t in many
i n s t a n c e s , changes o f in s tr u m e n ta tio n o r p o s i t i o n o f th e sound
w ith in th e p erfo rm an ce sp a ce c r e a t e a d d i t i o n a l s u b t l e t i e s ,
and d e v ia ti o n s .

One good exam ple o f t h i s i s se e n in 'Remembrance

o f Tim e' i n th e c l a r i n e t and f l u t e p r o c e s s io n a l where t h e p itc h


b ending f ig u r e i s echoed betw een th e f l u t e s , c l a r i n e t s and
o f f s t a g e 'h o r n s

(See exam ple 4 , page 83)

A ty p e o f 'f o o l e d '

e x p e c ta tio n can a l s o be seen in t h i s p a s s a g e i n t h a t t h e horn


does n o t echo th e tre itio lo f ig u r e o f th e f l u t e s and c l a r i n e t s in
th e second se q u e n c e , b u t i n s te a d re -e c h o e s th e p i t c h b en d in g
f ig u r e o f th e e a r l i e r se q u en c e.

I t sh o u ld be n o te d t h a t c e r t a i n i n s t a n c e s o f r e i t e r a t i o n
\ n Echoes o>f Time and t h e R iv er p r e s e n t no d e v ia tio n a t a l l
and so do n o t im p ly a lo n g e r r a n g e p ro c e s s *

T h is i s t h e case

in th e opening o f 'F ro z e n Time* where amid th e complex ech o in g s


in th e gortgs

and tam tarns, and betw een t h e d i f f e r e n t p i tc h e s

o f a n tiq u e cy m b als, t h e r e i n th e u n d e v ia tin g r e g u l a r i t y o f th e


'S f z a t t a c k s in t h e a n tiq u e cym bals which c r e a t e s th e se n se o f
a s t a t i c , r i t u a l i s t i c , u n d e v elo p in g s u c c e s s io n o f e v e n ts .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

is!

p,.t &fii

R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w ith o u t perm ission.

84

The r e p e t i t i o n o f lo n g e r p a ssa g e s has an im p o r ta n t.r o le


though somewhat d i f f e r e n t e f f e c t in t h i s w ork.

Each o f th e fo u r

movements b e g in s w ith a p a ssa g e o r sequence o f m a te r ia l which


i s fo llo w ed im m ediately by a s l i g h t l y v a r ie d r e i t e r a t i o n o f
t h e whole p assag e o r seq u en c e.

A d d itio n a l r e i t e r a t i o n s o f

lo n g e r p a ssa g e s a r seen i n 'F ro ze n Time' i n th e im m ediate


r e p e a t o f th e s t r i n g g lis s a n d o complex and i n th e c l a r i n e t

and f l u t e c i r c l e
* m usic o f ' Remembrance o f T im e '. In th e s e
l a s t two p a s s a g e s , t h e r e i s very l i t t l e n o t ic e a b l e d e v ia tio n
p

betw een th e f i r s t s ta te m e n t o f t h e - m a te r ia l and

th e r e i t e r a t i o n ,

o t h e r them th e o b v io u s one i n th e c a s e o f t h e c i r c l e m usic


t h a t i t i s h e ard f i r s t i n th e c l a r i n e t s and th en i n th e f l u t e s .
( ,

S l i g h t changes i n in s tr u m e n ta tio n o c c u r in th e r e i t e r a t i o n 'o f


t h e opening p ro c e s s io n a l m usic o f 'F ro zen Tim e' and o f th e
o p en in g echo complex o f 1L a s t Echoes o f T im e' , b u t because o f
t h e le n g th and c o m p lex ity o f th e s e p a s s a g e s , s u c c e s s iv e comp
*5

a r is o n s would o n ly a r i s e in th e l i s t e n i n g s i t u a t i o n
t
i n term s o f th e g e n e ra l f e a t u r e s o f t e x tu r e and th e more
d i s t i n c t i v e g e s tu r e s w ith in th e s e com plexes.
v

'

The opening echo com plexes o f 'L a s t E choes o f Time' i s


5

p a r t i c u l a r l y w orth n o tin q a s an example o f th e c o n tr o l o f p acin g


'a n d t e x t u r e which i s d eveloped in t h i s w ork.

The p a ssa g es

d iv id e th e o r b h e s tr a in to s i x q ro u p s, th r e e o f w hich c o n s i s t <

C>

o f a p e r c u s s io n i s t an d one t h i r d o f a l l th e s t r i n g s , and th e
o t h e r *fchree c o n s i s t in g o f a p e r c u s s i o n i s t , a cymbal p la y e r
*

Jr

'

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

85

( )

( a t he s id e o f th e s ta g e ) and a f l u t e o r c l a r i n e t ( o f f s t a g e ) .
The f i r s t of th e p e rc u s s io n and s t r i n g grtps and t h e f i r s t
o f th e p e rc u s s io n and wind g ro u p s b e g in s im u lta n to u s ly , ahd
a f t e r one m easure (te n seconds) t h e i r m a te r ia l i s echoed
by one o f th e s im ila r g ro u p s , g ra d u a lly b u i ld i n g up a
r i c h te x tu r e o f i s o l a t e d e v e n ts which t h in s out: as
groups com pletes i t s fo u r b a r s o f m a t e r i a l.

each o f th e

As can be seen

in t h e sc o re (example 5 , page 86) and h e a rd i n a p erfo rm an ce,


th e s e p a ssa g es p r e s e n t a r i c h p o s s i b i l i t y of s u c c e s s iv e
com parison in th e gch o in g o f m a te r ia l betw een th e g ro u p s o f
p la y e rs .

Between th e two ech o com plexes (each l a s t s about

a m inute and a h a lf ) t h e n o tic e a b le change may be h e a rd in


i

th e p i t c h o f th e a n tiq u e cym bals (from C#-G# t o P-C)


and i n th e portam ento f i g u r e which i s i n th e c l a r i n e t s and
f l u t e s i n th e f i r s t complex and in th e v i o l i n s in t h e second.
In th e opening r e p e t i t i o n s o f 'Remembrance o f Time' and o f
ti
'C o lla p s e o f T im e ', th e lo n g e r ran g e s u c c e s s iv e com parison

V >

becomes more c l e a r l y p o s s i b l e because th e s e p a s s a g e s c o n s i s t


* s t r a i g h t f o r w a r d sequences o f e v$ e n ts .
o f a sim ple t e x t u r e and

Two in s ta n c e s o f an a p p a re n t i n t e r r u p t i o n in t h e lo n g e r
a

ran g e sequence o f m a te r ia l can b e seen i n ' Remembrance o f Time'


and i n th e o p e n in ^ s e q u e n c e s o f ' C o lla p se o f T im e '.

,vt,

Aegean

be se en in th e o u t li n e o f t h e p r i n c i p a l p a ssa g e s (page

, th e

c l a r i n e t and f l u t e c i r c l e m u sio p a s s a g e s a re more o r l e s s

(/X

i d e n t i c a l , and ehd in th e same w ay/ w ith a s o l o p a ssa g e wtfich

V
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

T IM E

86

ECHOES

OF

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OPENING ECHO COMPLEX FROM

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:rnj

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II

*1 A

\
\

n
:

"*ivrr

& il l I
si"w#v*

!W/I*

Ho f X

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i s im m ita ted i n th e low p iano r e g i s t e r , and i s fo llo w e d by


a low c l u s t e r and a ra p id drumming p a t t e r n on th e ta m b o u rin e s .
Where t h e c l a r i n e t c i r c l e m u s ic 'c o n tin u e s i n t o th e i n te n s e
c h p rd a l e n tr y o f t h e s t r i n g s , a s t a r t l i n g d e v ia tio n from t h i s
seq u en c e (w hich would p r e d i c t a r e p e a t o f th e in te n s e c h o rd a l
s t r i n g s p a ssa g e a f t e r th e f l u t e c i r c l e m usic) i s f e l t a f t e r
th e f l u t e c i r c l e m usic in th e s t a r k rh y th m ic f ig u r e s ( i d e n t i c a l
t o the f o o t s t e p p a t t e r n in th e o p e n in g p r o c e s s io n a l o f 'F ro z e n
T im e') e ch o ed by t h e p ia n o s .

A r e t u r n o f th e s t r i n g s i s

e v e n t u a l l y found i n th e 'rem em brance' o f t h e negro s p i r i t u a l


i n th e f i n a l p a ssa g e o f t h i s m ovem ent.

In 'C o lla p s e o f Tim e-',

Svs,

a lo n g e r ran g e i n t e r r u p t i o n o r d e v ia ti o n i s f e l t a f t e r th e
r e t u r n o f t h e 'k r e k tu d a i ' c h a n tin g .

Where a c o n tin u e d

r e p e t i t i o n o f th e o p en in g c y c le of m a t e r i a l would p r e d i c t
t

th e r e i t e r a t i o n o f th e 'h ig h r u s t l i n g '
a r i s e s a r e c a l l by th e c l a r i n e t ;
fig u re s

(echoes by th e f l u te s )

and wind sound, th e r e

o f i t s trem olo

and t h e f u r t h e r

and ^ b e n d in g '
a tt e n u a t e d

echoes o f 'k r e k tu d a i '.


4

_/

T hese i n s t a n c e s -o f a n S
/a p p a r e n tly c o n tin u o u s p a t t e r n

b e in g \ i n t e r r u p te d and re p la c e d by a n o th e r form o f p r o c e s s , a s
w e ll a s th e much more common i n s t a n c e s in th e work w here one
s e c t i o n sim p ly ends and a n o th e r q u i t e d i f f e r e n t one b e g in s

can be r e g a rd e d a s changes in p r o c e s s w hich c r e a t e a m om entary


d i s c o n t i n u i t y . 4 The i n t e r r u p t e d o r d isco n tin u e^ d ^ cfro cesses
......................................

o
1

11

'

..... ........................

i<

................ ..

40.

S ee L eonard M eyer, Em otion and M eaning in M usic, p g . 93


f o r h i s e x p la n a tio n o f p r o c e s s r e v e r s a l in t r a d i t i o n a l
s ty le s .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

88

( t

4
"V
in Echoes of Time and, th e River can b e e x p la in e d in term s o f
th e g e n e r a l e p is o d ic d ra m a tic an d th e m a tic developm ent o f th e
work w hich w i l l be d is c u s s e d s h o r t l y , b u t th e y have th e
A

im p o rta n t e f f e c t o f c r e a t i n g an u n c e r t a i n t y and an i n t e r e s t
in how th d momentary i n t e r r u p t i o n o r d is c o n ti n u i ty w i l l f i t
in to th e long range d e s ig n .

A nother i n t e r e s t i n g f e a tu r e of t h e su c c e ss io n o f lo n g e r
passag es i s se en in t h e i r d u r a tio n s .

The t o t a l tim e f o r th e

co m p o sitio n (b ased (^ p th e re c o rd in g by The L o u is v ille


O rc h e s tra conducted by Jo rg e M ester) 41 i s a b o u t tw enty m in u te s
and f i f t e e n se c o n d s.

W ithin t h i s tim e sp an , i t i s p o s s ib le

to h e a r (and see) tw elve c l e a r l y d e fin e d p a ssa g e s o f betw een


f i f t y and se v e n ty seco n d s,

(se e th e d u ra tio n s in th e o u t l i n e
42
o f th e p r i n c i p a l p a s s a g e s ) ,
and from th e s c o r e , i t c a n be
n o ted t h a t th e echo complexes o f 'L a s t Echoes o f Time1 a re
in te n d e d to b e se v e n ty seconds e ach b u t b ecau se th e f i r s t
i s e x te n d e d i n t o a s h o r t e p iso d e ( 'a d i s t a n t m usic1 p la y e d on
th e p ia n o , m andolin, c e l e s te and harp) and th e second e x te n d s
d i r e c t l y in to th e f i n a l p r o c e s s io n a l s , th ey do n o t f i t i n t o
41.

Echoes o f Time and th e R i v e t . The L o u is v ille O rc h e s tra


JO rge M e ste r cond. ( L o u is v ille O rc h e s tra f i r s t e d i t i o n
re c o r d s . 1971 LS'IU) .
42.

In t h i s a n a ly s is o f long ra n g e d u r a t i o n , th e o s te n a to
and the fo llo w in g s t r i n g g lis s a n d o complex a re ta k e n
as one d u r a t i o n b ecau se o f the. lo n g ran g e dynamic and t e x t u r a l
g e s tu re ( r i s e and f a l l ) which th e y form .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

*s

89

t h i s long ran g e d u r a tio n a l p acin g . ^The two prolonged s e c t i o n s ,


(.3

th e b ra s s c i r c l e music and th e f i n a l p r o c e s s io n a ls occur!


*

a t im p o rta n t pointjs in th e long ran g e d ra m a tic d esig n - a f t e r ,


th e clim ax in 'C o lla p s e of T im e', c r e a t i n g a r e l i e f fro m .th e
r e g u l a r it y in th e su c c e ssio n o f p a s s a g e s , and a t the end o f
th e work a s a ty p e o f f i n a l e lo n g a tio n and c lo s u re .
*
'
G e n e ra lly i n Crtimb's m usic, i t is p o s s ib le to d i s t in g u i s h
th re e d i f f e r e n t t e x t u r a l and rhythm ic ty p e s :

th e slow

s u c c e ssio n o f i s o l a t e d e v e n ts , the su c c e ssio n o f s e p a ra te


e v e n ts b u t w ith some o v e rla p p in g an d i r r e g u l a r i t y due to th e
f a c t th a t th e s e p a ssa g e s c o n s is t o f a s u p e r p o s itio n o f two
in d ep en d en t c y c le s of m a te r ia l, and t h i r d l y , th e type o f e v e n t
complexes which i s d e riv e d from t h e s u p e r p o s itio n of a number
o f c y c le s o f m a t e r i a l.

As m entioned i n th e second c h a p te r ,

th e s e th r e e ty p e s can be regarded a s d i f f e r i n g d eg rees o f

h o r iz o n ta l d e n s ity which Crumb c o n tr o l s by s tr a ig h tf o r w a rd


'

*
c o n tr a p u n ta l m eans. The opening t e x t u r e o f th e work in 'F ro z e n
Time' i s t h e ty p e o f complex sequence d e riv e d from th e s u p e rk>
p o s itio n o f two c y c le s o f a c t i v i t y (th e o n sta g e and p r o c e s s io n a l
p e rc u s s io n g ro u p s ).

A fte r th e r e i t e r a t i o n &f t h i s t e x t u r e ,

th e r e i s t h e ju x ta p p o s itio n o f th e sim ple sequence o f the


'g h o s tly b e l l s ' , th e in te n s e s t r i n g g lis s a n d o com plexes,
th e

r e t u r n of th e 'g h o s tly b e l l s ' an^t th e c lo s in g t e x t u r e

which c o n s i s t s o f sim p le r e i t e r a t e d sequences o f the m andolin


{

p r o c e s s io n a l.

The sim ple sequ en cin g o f e v e n ts i s resumed in th e

>

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r A
<

"V

!
*

* *

'

90

opening o f 'Remembrance o f Time' w ith an i n t e r e s t i n g t r i l l e d


'
background c o lo r a ti o n s h i f t i n g betw een th e v a rio u s tim b re s,
b u t w ith th e a r r i v a l o f th e f l u t e s and c l a r i n e t s o n s ta g e ,

* ' t h i s is i n te r r u p t e d by th e dense and p u ls a tin g c l a r i n e t c i r c l e


m usic com plex.

The te x tu r e of t h i s p a ssa g e in c re a s e s q u ic k ly ,

in d e n s ity w ith th e e n tra n c e o f each o f th e c l a r i n e t s i n


t u r n , re a c h in g a peak of a c t i v i t y and th en s u b s id in g as .the
p la y e rs com plete t h e i r c y c le s e l a c t i v i t y ,
\

fo llo w in g t h i s i s

th e r e l a t i v e l y q u ick su c c e ssio n o f lo n g e r range e v e n ts and


te x tu r e s d is c u s s e d e a r l i e r in v o lv in g th e s h o r t in te n s e s t r i n g
e n tr y , th e r e t u r n o f c i r c l e music t e x t u r e and th e sudden

h a lt

o f a c t i v i t y i n th e s t a r k rhythm ic f i g u r e s drummed by th e
^

p ia n is ts .

The l a s t e p iso d e o f 'Remembrance

o f Tim e' p r e s e n ts

a r e tu r n to th e opening te x tu r e o f th e work w ith th e c l e a r l y


rin g in g a n tiq u e cymbals and th e q u i e t s l i g h t l y o v e rla p p in g
l y r i c a l g e s tu r e s in th e s t r i n g s .

The o pening d f 'C o lla p s e o f Tim e' s i m i l a r l y p re s e n ts a


ty p e o f t e x t u r a l and tim b ra l r e tu r n in th e su c c e ssio n o f e v e n ts
a g a in s t th e t r i l l e d , background am bience (as in th e opening of
^R em em b ran ce of T im e ').

From t h i s p o i n t o f th e work t o th e

vy
e n d , how ever, th e r e a re no more a b ru p t t e x t u r a l changes and th e
lo n g e r p a ssa g e s c r e a t e g ra d u a l ebb and flo w in th e d e n s ity o f ,

e v e n ts .

The t e x t u r a l b u ild o f t h e o s te n a to

o f 'C o lla p s e o f

Time' b e g in s alm o st im p e rc e p tib ly , e x te n d in g r i g h t from th e low


^

p ian o reso n a n c e s which accompany t h e l a s t echoes o f 'k re k t u

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

H,

'6

91

( ^

d a i '.

The" e v e n tu a l b u ild o f th e o s te n a to i s c a r r i e d o v er ih

th e i n t e n s i t y o f th e r e tu r n o't th e s t r i n g g lis s a n d o complex


whidh in tu r n t h in s o u t g ra d u a lly to a s o lo c o n tra b a s s
*
g lis s a n d o trem o lan d o , th u s co m pleting an e le g a n t lo n g er

*, w

range dynamic and t e x t u r a l g e s tu re in th e g ra d u a l r i s q and f a l l


in th e ' d e n s ity o f a c t i v i t y .

The s o lo b a ss i s follow ed by a

so lo horn w hich b e g in s th e b ra s s c i r c l e m u sic.

Again in t h i s

p assage th e r e i s a g rad u a l growth and r e c e s s io n i n co m plexity


a s le a c h group in tu r n b eg in s and co m p letes i t s m a te r ia l.

In

termB -of th e long ran g e developm ent o f th e work, th e b ra s s


c i r c l e music can be taken a s a type o f a rc h form co rresp o n d en ce
in

t e x tu r e and rhythm ic c h a r a c te r w ith th e c i r c l e music

complexes p la y e d by th e f l u t e s and c l a r i n e t s in 'Remembrance


*!.
o f T im e'.

The l a s t rin g in g of th e

f in g e r cym bals (h eard.alon&


i s fo llo w e d }

o f fs ta g e ) a t th e end o f th e b ra s s c i r c l e m usic
^

a f t e r a s h o r t pause, by th e lo u d ly r e s o n a n t a n tiq u e \ym bal


' chim es of 'L a s t Echoes p f Time' and th e tw o-ex ten d ed echo
complexes o f t h i s movement each r i s i n g i n a very d e l i c a t e w
com plexity o f e v e n ts and f a d i n g d i r e c t l y i n to th e f n a l
p r o c e s s io n a ls .

The f i n a l p r o c e s s io n a ls i n t h e i r g e n e ra l
***'
te x tu r e a re Bimilar to th e p ro ce ed in g echo com plexes s in c e
,

'

f^ V .

>

th ey p r e s e n t a com parable d i v e r s i t y o f m a te r ia l in superim posed


t

>

c y c le s and c o n tin u e th e portam ento f i g u r e in, a ty p e o f m elo d ic


(

o s te n a to a l t e r n a t i n g betw een c h o ru se s of w h i s t l e r s in th e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

s t r i n g s and th e v ib rap h o n e .

As th e p r o c e s s io n a l p la y e rs

lea v e th e re i s th e f i n a l th in n in g o u t o f th e tex tU re to the


it
o s c i l l a t i n *g f o u rth s among d e c re a sin g numbers o' f A
'string-jplayers
90
which in tu rn fa d e s to an unvoiced w h is tle and f i n a l l y to

n o th in g .

-.
f

t
f
The g e n e r a l l i n e o f development w hich E choes of Time and
,

the R iver

p r e s e n ts in term s o f te x tu r e , i s an i n t e r e s t i n g o n .

The opening movements o f th e work in 'F ro z e n Time1 'and 'Remem-

brance of Time' p re s e n t an a r t i c u l a t e d su c c e ss io n of e v e n ts
ahd p a ssa g es o f c o n tr a s tin g m a te r ia l. B eginning w ith th e
t
' !
o s te n a to o f 'C o lla p s e o f T im e', fewgr a r t i c u l a t e d s e c tio n s
a re a p p a re n t and th e work p ro g re s se s in long te x t u r a l g e s tu r e s
c o n s is tin g o f a g rad u a l r i s e and f a l l in th e d e n s ity o f
a c tiv ity .

In term s o f th e th em atic developm ent, th e lo n g e r

t e x t u r a l g e s tu r e s from th e b ra s s c i r c l e m usic to the end o f th e


*

p ie c e p re s e n t in s h o r t g e s tu r e s , i s o l a t e d re fe re n c e s to the
m a te ria l and e v e n ts which formed th e more a r t i c u l a t e d su c c e ss io n
o f th e f i r s t p a r t o f th e work.

T hem atically,* Echoes o f Time and th e R iver i s v e ry comple**.,


n o t in term s o f th e developm ent o f them es, b u t in th e q u a n tity
o f r e c u r r e n t f ig u r e s and th e scope o f t h e i r in te ra c tio n .

C e rta in

f ig u r e s how ever, a re worth d is c u s s in g in some d e t a i l because


th ey are made to s ta n d o u t i n th e g e n e r a l te x tu r e and so have
a g r e a t e r in f lu e n c e in th e tem poral d i r e c ti o n which i s sensed
in th e in tr o d u c tio n o f new m a te ria l and th e r e c a l l o f m a te r ia l

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

p r e v io u s ly h e a r d .

As m entioned in th e in tr o d u c ti o n t o t h i s

a n a l y s i s ,' E choes of Time and th e R iv er i s composed a s ^ a kin d


o f 'd i s r u p t e d ' a rc h form in w hich t h e r e i s a sudden^ r e t u r n
o f p re v io u s m a t e r i a l

(th e s t r i n g ' g lis s a n d o complex) a t th e

c lim ax o f th e p ie c e in 'C o lla p s e o f T im e ', fo llo w ed by a more


g e n e r a l r e c a l l o f s h o r t g e s t u r e s w ith in th e e x te n d ed com plexes
o f th e b r a s s c i r c l e m usic and 'L a s t Echoes o f T im e '.

p o s s ib l e c o n je c tu r e c o u ld be made h e re a s t o w hether Crumb


made a ty p e o f t r a n s l a t i o n o f th e L orca

frag m e n t ' l o s a rc o s

r o to s donde s u f f r e e l tie m p o ' i n t o th e g e n e r a l form al d e sig n


o f th e w ork.

T h is i s su g g e ste d in th e v a r io u s e le m e n ts o f a rc h

form developm ent of th e p r o c e s s io n a l s , th e d i s i n t e g r a t e d r e t u r n


o f e a r l i e r m a t e r i a l s and th e a p p a re n t d i s c o n t i n u i t y in th e
r e c u rre n c e o f t h e s t r i n g g lis s a n d o com plex w hich as tCrumb has
.

im p lie d in h is t i t l e

<0

'C o lla p s e o f T im e ', r e p r e s e n ts a type

o f p s y c h o lo g ic a l r e l a p s e a t th e d ra m a tic f o c a l p o in t o f th e
w ork. 4 ^

43.

The sudden r e c a l l o f th e s t r i n g g l is s a n d o com plex a t


th e h e ig h t o f t h e o s te n a to o f C o lla p s e o f Time c r e a t e s
an i n t e r e s t i n g m u s ic a l and e m o tio n a l d i s c o n t i n u i t y s in c e th e
se n se o f a n t i c i p a t i o n and g ra d u a l a r r i v a l o f th e slo w ly b u i ld i n g
o s te n a to i s fo llo w e d by an e v e n t w hich has a lr e a d y happened
a t th e b e g in n in g o f th e w ork. Where t h i s m ig h t be an e x p e c te d
ty p e o f r e t u r n
in a t r a d i t i o n a l s o n a ta form , i t i s d e f i n i t e l y
u n ex p ected i n ' t h i s c o n te x t and evokes much o f th e s e n s e o f tem p
o r a l n o n l i n e a r i t y and d i s r u p t io n o f t h e t i t l e o f t h i s movement.
A nother i n t e r e s t i n g m a n ip u la tio n o f t h e e x p e c ta tio n s in v o lv e d
i n f a m i l i a r m u s ic a l fo rm s, w i l l be s t u d i e d i n th e d is c u s s io n
of
'M usic f o r a S t a r r y N ig h t' from M usic f o r a Summer E v en in g .
In
t h i s c a s e a s w e l l , t h e r e i s an u n d e rly in g p o e tic m eaning
w hich can be r e l a t e d to th e n a tu r e o f t h e s u c c e s s io n o f *
e v e n ts .

R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w itho ut perm ission.

94

I t i s i n t e r e s t i n g to n o te in th e g e n e r a l th e m a tic
d i r e c t i o n o f th e m usic t h a t , th e long ra n g e th e m a tic r e c a l l
b e g in s g ra d u a lly w h ile new m a te r ia l i s s t i l l b e in g in tro d u c e d .
The f i r s t i n s ta n c e o f w hat c o u ld be c o n s id e re d a lo n g e r range
r e tu r n i s h e a rd a f t e r th e s t a r k rhythm ic f ig u r e
by th e p i a n i s t s )

(drummed echo

to w ard s th e en d o f ' Rem^mbranee o f Tim e1

where th e chim ing- f i f t h s and a s u b tle s u g g e s tio n o f th e


s t r i n g s g lis s a n d o m a te r ia l o f 'F ro z e n Tim e' a re h e a r d a g a in s t
<*
*

segm ented v e r s io n o f t h e negro s p i r i t u a l *


In 'C o lla p se , o f 1
Time'

th e re i s a r e t u r n o f th e t r i l l e d background am bience

(as in th e o p e n in g o f 'Remembrance o f T im e1 b o th o f th e s e p a ss
ages a r e marked 'a s from a f a r ')

and a ls o a p o s s ib le th e m a tic

co rre sp o n d e n ce can be n o te d h e re betw een th e s h o r t harm onic


g lis s a n d o complex^ in th e b a s s e s in th e b e g in n in g o f 'Remembrance
o f Tim e' and s h o r t complex o f b e h in d th e b r id g e a rp e g g ia tio n s
i n th e v i o l iwn s * i n th e b e g in n in g *of 'C o lla p s e o f .T im e'. The
sen se o f a t e x t u r a l th e m a tic r e t u r n i s f u r t h e r b ro u g h t in to
focus by th e 'so u n d o f th e w in d ' which i s superim posed upon
-both o f th e s e p a s s a g e s .

F u r th e r d e t a i l s o f th e g e n e r a l th e m a tic r e v e r s a l o f t h i s
movement in c lu d e t h e c l a r i n e t and f l u t e e c h o in g s b e fo re th e
f
o s t e n a t o , th e r e t u r n d u rin g th e o s te n a to o f th e segm ented
xylophone m a t e r i a l (from th e s o lo a t t h e b e g in n in g o f th e
m ovem ent), th e r e c a l l i n th e b r a s s a t t h e h e ig h t o f th e o s te n a to

(*

o f th e s t r i n g s a c c e le ra n d o t r i l l f ig u r e i n th e 'Remembrance o f

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

'9 5

- o f Time* ( a f t e r th e c l a r i n e t c i ^ b l e m usic) ^nd a p a s s in g r e tu r n

o f th e p i a n i s t s ' slow s t a r k rh y th m ic fic ju re (from the end


,o f 'Remembrance o f T im e') h eard i n g lis s a d d o s i n th e tim p a n i
a g a in s t th e g r a d u a lly s u b s id in g s t r i n g g lis s a n d o complex,.
As m entioned e a r l i e r , th e b ra s s g i r c l e m usic r e c a l l s a
r

v a r i e ty o f " m a te r ia ls in c lu d in g tl^e 'b e n d in g f i g u r e ', and a


fragm ent from th e f l u t e and c la r i n e t c i r c l e m u sic.
A t th e end o f th e work, a f t e r th e w h is tle d portam ento
o s te n a to 44 , where t h e r e h a s-b ee n a c o n tin u e d r e f l e c t i o n on p a s t
^

v m a t e r i a l , i t i s i n t e r e s t i n g to n o te t h a t t h e r e a r i s e s w hat i s
e s s e n t i a l l y new and d i f f e r e n t - m a t e r i a l .
The o s c i l l a t i n g f o u r th f ig u r e tak e n up (in w h is tlin g )
by the s t r i n g s had been h e ard p r e v io u s ly o n ly i n p a s s in g in
t .
th e p ic c o lo s a t t h e end o f th e second e c h o com plex, a s such
fh e e f f e c t c h e a te d i s a ty p e o f open e n d in g , a s i f th e work
were s t i l l p ro g r e s s in g th e m a tic a lly a t t h e c l o s e .

W ithout g o in g i n to a l l o f t h e i n t r i c a c i e s o f the work,

j>

a few exam ples can be chosen to . i l l u s t r a t e th e co rresponden ce


betw een th e th e m a tic and t h e a t r i c d ra m a tic e lem en ts o f th e
44.

The 'p o rta m e n to ' f i g u r e , upon c lo s e r exam ination su g g e s ts


a c e r t a i n th e m a tic developm ent. I t has th e. same rhythm ic
form a s th e 'b e n d in g ' f ig u r e o f t h e 'Remembrance o f Tim e", b u t
in s te a d o f th e m o urnful d e sc e n d in g q u a r t e r to n e , o f th e 'b e n d in g '
f i g u r e , i t has th e more se re n e m ajor se co n d a s i n the segment-*
ed portam ento g e s t u r e s o f th e s t r i n g s i n t h e i r re m in isce n ce o f
"W ere,you th e r e whan th e y c r u c i f i e d my L ord?" a t the e n d of.
' Remembrance o f Tim e' .
<.

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

96

w ork.

The o r c h e s t r a i s t r e a t e d e s s e n t i a l l y a s f p u r s e p a r a te
r

'

t h e a t r i c g ro u p s:

t h e s t r i n g s , th e p e rc u s s io n and p ia n o s ,
*,
'
t h e woodwinds and t h e b r a s s , each a p p a r e n tly w ith i t s own
th e m a tic m a te r ia l w hich i s echoed w ith in th e members o f
e ac h group and a ls o to a c e r t a i n more l i m i t e d e x te n t among
members, o f th e o t h e r g ro u p s.

F o r exam ple, in th e opening

m easures o f 'F ro z e n T im e ', th e p re se n c e o r th e b r a s s i s f e i t


re m o tely from back s ta g e i n a low r e g i s t e r g lis s a n d o f i g u r e .
f

T h is i s r e f l e c t e d o n s ta g e by t h t i m p a n i 'a t th e b e g in n in g
lc,

o f th e second c y c le o f t h i s p r o c e s s io n a l.

When th e b r a s s e n te r

i n t h e i r p r o c e s s io n a l i n 'C o lla p s e o f Tim e , th e y r e p e a t


e d ly echo

{ o f f s ta g e and o n sta g e ) a s h o r t f i g u r e w hich

b e a r s th e same i n t e r v a l l i c c o n to u r o f t h e i r o pening g lis s a n d o .


p re m o n itio n and s i m i l a r l y t h i s m otive f i g u r e s p ro m in e n tly in
*

t h e i r c i r c l e m u sic.

A r e a d i l y a p p a re n t t h e a t r i c th e m a tic

04

i n t e r a c t i o n has b e en o b se rv e d e a r l i e r ip th e ech o in g o f th e
'p i t c h b e n d in g ' f ig u r e i n th e 'Remembrance o f Tim e' b u t a ls o
a t th e end o f t h i s movement an i n t e r e s t i n g th e m a tic t r a n s f e r
i s h e ard i n th e e c h o in g o f th e p e r f e c t f i f t h o f th e p e rc u s s io n
chim ing in i s o l a t e d g e s tu r e s in th e s t r i n g s .^

The ' f i f t h s '

g e s tu r e i s l a t e r - t a k e n up by b o th th e s t r i n g s and woodwinds
i n 'L a s t Echoes o f Tim e' and i n f a c t one
o f th e l a s t sounds, c f
*
th e work i s a f a i n t ch o rd o h th e o p e n - s t r i n g s o f th e v i o l i n ,

i n h a rm o n ics.

A nother v e ry s u b t l e and i n t e r e s t i n g d e t a i l

w hich r e f l e c t s \ th e i n t e r a c t i o n o f th e s t r i n g s w ith th e p ro
c e s s i o n a l groups i s t h a t whej^j, t h e ]j>ercussioh groups f i r s t
come o n to th e s ta g e a t th e op en in g

o th e w ork, c h a n tin g

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

f*

97

O-

'M o n tan i semper l i b e r i ' l b i s a s a q u e s tio n w hich i s echoed


i
*
in a f f ir m a tio n by th e s t r i n g s . In th e p r o c e s s io n a l a t th e
end o f the w ork, i t

be seen theft th e p e r c u s s i o n i s t s

cm

( r e p e a tin g more o r l e s s th e same c y c le o f m a t e r i a l as i n


t h e i r opening p r o c e s s io n a l) haVe changed t h e i r i n to n a t io n
o f ' M ontani semper l i b e r i 1 to t h a t o f th e a f f i r m a t i v e .

The

d e p a r tu r e o f each o f th e p r o c e s s io n a l groups a t t h e end o f th e


work i s accompanied by a ty p e o f f a re w e ll r e i t e r a t i o n o f th e
low "m uffled r o a r from th e p ia n o , a s h o u tin g o f 'k r e k t u d S i'
and a chim ing o f a n tiq u e cym bals i n th e s t r i n g s .

A d e ta ile d

e x a m in a tio n o f th e s c o re re v e a ls 'm o r e such t h e a t r i c th e m a tic *


im p l i c a ti o n s , b u t th e s e w i l l s u f f i c e to i l l u s t r a t e th e g e n e ra l
n a tu r e o f th e m u sic a l .image which i s conveyed, a n d which
r

do m in ates th e e x p e rie n c e o f th e w ork.

j]

I f i t i s p o s s ib le to d e s c r i b e V a re s e 's tr e a tm e n t o f m u sica l

tim e i n term s o f an i n t e r a c t i o n o f s p a t i a l l y co n ce iv e d tim b r a l


and to n a l sym bols, th e n a f i t t i n g d e s c r i p t i o n

be made o f th e

cm

c o n c e p tio n o f tim e p r e s e n te d in Echoes o f Time and th e R iv er


and in much o f Crum b's m u sic, a s an i n t e r a c t i o n o f p sy c h ic
sym bols o r s p n ic a rc h e ty p e s . As seen in t h e d is c u s s io n
r

o f th e

v a rio u s s i g n i f i c a n t e le m e n ts o f d e s ig n in Echoes o f Time and


t h e R iver th e work p r e s e n t s a ty p e o f com posite image com bining
t h e i l l u s i o n o f r i t u a l form i n th e d e l i b e r a t e and solemn
p r o c e s s io n a ls w ith th e 's tr e a m o f c o n s c io u s n e s s ' im p lic a tio n
o f th e m u sic a l m a te r ia ls a s w e ll a s th e im p lie d t h e a t r i c
.

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

98

i n t e r a c t i o n s betw een p l a y e r s , and th e mor^, a b s t r a c t sense- o f


V

m u s ic a l d evelopm ent i n th e s h o r t e r and lo n g e r ran g e r e p e t i t i o n s


a n d 't e x t u r a l g estu res.* " Thi^ im p re ssio n o f tem p o ral o r d e r
c r e a t e d i n Echoes o f Time and th e R iv er

can b e u n d e rs to o d
i

in te rm s o f a slo w ly e v o lv in g p ro c e s s w iiich in v o lv e s a u n iq u e
a
b a la n c e o f p r e d i c t a b i l i t y and u n p r e d i c t a b i l i t y . As in m ost
o f C rum b's w orks, th e e s s e n t i a l form o f Echoes o f Time and th e
R iv e r i s a s e r i e s o f e p is o d e s i n which t h e r e i s th e im p lic a tio n
o f a lo n g range u n ity - e i t h e r a n a r r a t i v e c u rv e o r a rc h form .
Among th e low er l e v e l e p is o d e s o f Echoes o f Time and th e R iv e r,
i t w as se en t h a t

p r e d i c t a b i l i t y a ro s e g rad u a lly * and in d i f f e r e n t

ways - th e v e ry slow rh y th m ic p e rio d s d e fin e d i*i th e s e q u e n tia l


t

r e i t e r a t i o n o f d i s t i n c t i v e m a t e r i a l s , th e s lo w ly e v o lv in g
t e x t u r a l and dynamic grow th and r e c e s s i o n s , ahd a ls o in th e
im m ediate r e p e t i t i o n Of lo n g e r and o f te n more com plex p a ssa g e s
(such as t h e o p en in g ecom plexes o f 'F ro z e n Time* and 'L a s t
E choes o f T im e')
re p e titio n .

where a c e r t a i n p r e d i c t a b i l i t y emerges- i n th e

In rem em bering th e t h e a t r i c e le m e n t o f t h i s w ork, .

x t c a n a ls o be n o te d t h a t a v e ry o b s e rv a b le p r e d i c t a b i l i t y
w ith in th e in d iv id u a l e p is o d e s , i s d e riv e d from the\ d i r e c t e d
m o tio n o f , th e p r o c e s s i o n a l s .

In te rm s o f th e o v e r a l l d e s ig n , one o f t h e im p o rta n t

-A

e f f e c t s o f th e o b s e rv a b le r e p e t i t i o n o f lower l e v e l e v e n ts
o r e p is o d e s i s t h e i ip p lic a tio n o f a. h ig h e r o r d e r in g . (As n o ted
o' ' _
'
*
i n L eonard M ey er's rem arks a t t h e c lo s e o f th e seco n d c h a p te r.

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.>

99

p ag e 60 ) .

One o f th e c h a r a c t e r i s t i c f e a t u r e s o f th e

o r g a n i z a t i o n o f Echoes o f Time and th e R iv er i s th e u n p re d ic


t a b i l i t y w hich i s f e l t i n th e s u c c e s s io n o f th e lo n g e r e p is o d e s .
To a la r g e e x t e n t , t h i s e-lement of^ u n p r e d i c t a b i l i t y in th e
s u c c e s s io n o f lo n g e r e p is o d e s i s a b so rb ed i n to t h e g e n e ra l
e v o c a tio n o f m y stery and r i t u a l , b u t a s th e work p r o g r e s s e s ,
p a r t i c u l a r l y a f t e r th e c lim a x in 'C o lla p s e o f T im e ', a c e r t a i n
r e g u l a r i t y a r i s e s in th e d u r a tio n o f th e lo n g e r p a s s a g e s and a
c e r t a i n long ran g e se n se o f c lo s u r e i s d e riv e d from g e n e r a l
dynam ic d i r e c t i o n o f th e m usic, s u g g e s tin g a ty p e o f n a r r a t i v e
c u rv e , and th e g e n e ra l th e m a tic r e c a l l s u g g e s tin g a ty p e o f
a rc h form .

P e ih a p s th e m ost t a n g i b l e e x p re s s io n o f a ty p e

o f sym m etric a rc h form c lo s u r e i s f e l t in th e f i n a l p r o c e s s io n a ls


a s th e b r a s s and p e rc u s s io n g roups le a v e th e s t a g e .

The v e ry

~gen?Sal im p lic a tio n in t h e low er l e v e l r e p e t i t i v e p a tt e r n i n g


oTva type] o f h ig h e r l e v e l d e sig n i s t h e r e f o r e r e a l i z e d in th is *
, piffece.

The e x a c t n a tu r e o f th e h ig h e r l e v e l m eaning i s com plex,


*
a s a lr e a d y m entioned,,
. in v o lv in g th e t h e a t r i c , th e m a tic lo g ic
a s w e ll as t h e more p u r e ly m u sica l p r o c e s s e s ( i . e . p ro c e s s e s o f
r e p e t i t i o n and dynamic and t e x t u r a l grow th) and th e s tr o n g
sy m b o lic a r c h e ty p a l n a tu r e o f C rum b's m u sic a l im agery.

Crjjiribfe .use o f a h ig h ly e v o c a tiv e m u sic a l im agery d e s e rv e s a


f u r t h e r co\nmnt i n re s D e c t to . i t s r o l e in th e g u a l i t v o f e x p e rie n c e
i n h i s m usic.

As n o te d - in th e second c h a p te r , th e a r c h e ty p a l and

c o n n o ta tiv e im ages Which a r i s e w ith in th e v a rio u s fo rm al p a t t e r n in g s o f Crum b's m u sic-h a v e s tr o n g a s s o c i a t i v e m eanings th e m s e lv e s The
c

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

ju x ta p p o s itio n and c o n t r a s t o f th e s e im ages in b o th the im m ediate


s u c c e s s io n o f e v e n ts o r in th e su c c e ss io n o f lo n g e r p assag es
( i . e . th e long range d i s c o n t i n u i t i e s o r i n te r r u p ti o n s ) c r e a t e s
a unique te n s io n and i n t e r e s t as to how such fu n d am e n ta lly
e v o c a tiv e and c o n tr a s t in g images a re b ro u g h t to g e th e r
a h ig h e r o rd e r o f m eaning.

in

T h is , combined w ith t h e p acin g

o f e v e n ts and p a ssa g e s d is c u s s e d in t h i s a n a ly s is c r e a te s
a se n se o f su sp en se in Crum b's m usic.

A lfre d F ra n k e n s te in 1s rem arks on t h i s p a r t i c u l a r q u a li t y


\

o f Echoes o f Time and th e - R iv er a re w orth n o tin g .


"Throughout th e e n t i r e s c o re , th e b ig o r c h e s tr a
i s h a n d le d as a s e r i e s of chamber en sem b les,
p e rc u s s io n , w in d s, s t r i n g s , and such u n u su al
a d d i t i o n s ,a s a m andolin - each group h an d led
s e p a r a te ly and m ost q u i e t l y a g a i n s t a background
o f t o t a l s i l e n c e . What happens p r im a r ily in
t h i s m usic i s a se n se t h a t som ething i s going
t6 happen; th e r e a re a few lo u d b ra s s y g e s tu re s
h e re and t h e r e , b u t th ey do n o t r e a l l y q u a li f y
as e v e n ts ; th e r e a l e v e n t h a s n 't come o f f when
th e m usic ru n s o u t a t th e end o f i t s tw enty
m in u te s. But you s i t f a s c i n a te d th ro u g h o u t.
Crumb has c o n ju r^ ji tim e p erh ap s more s u c c e s s f u lly
th an he knows."
In a l l f a i r n e s s to Crum b's w ork, how ever, i t has] been
e v id e n t i n t h i s d is c u s s io n t h a t th e r e i s a n o tic e a b le clim ax
i n th e | work in 'C o lla p s e o f Time' which h as b o th an i n t e r e s t i n g
c o m p o s itio n a l o r i g i n and a d i s t i n c t i v e m u sic a l e f f e c t .

It

sh o u ld be n o ted a ls o t h a t F r a n k e n s te in 's comffifents r e f e r only to


t h e re c o rd e d perform ance && th e L o u is v il l e O rc h e s tra and do
(

45.

A lfre d F ra n k e n s te in , Records in Review , 1971, pg. 142.

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'

n o t ta k e in to a c c o u n t th e r o l e w hich t h e a t r i c g e s tu r e p la y s
in th e o v e r a l l m eaning o f th e w ork.

Crumb i s q u i t e c o r r e c t

when he m en tio n s in th e n o te s to th e s c o re t h a t th e p r o c e s s io n a ls
imptLy a ty p e o f continuum .

When th e p r o c e s s io n a l p la y e r s

have a l l l e f t th e s ta g e a t th e end o f th e 'L a s t Echoes of


\
Time', i t i s n o t as i f th e m usic h a s ended, b u t r a t h e r as i f
i t h a s d e p a rte d to be c o n tin u e d somewhere e l ^ e .

S im ila r ly

th e im p lic a tio n o f r i t u a l o r of d i s t a n c e , re m o te n e s s , or
sounds coming 'a s from a f a r ' w hich i s common in C rum b's m u sic,
i s v i v i d l y r e f l e c t e d in th e use o f th e e x te n d e d perfo rm an ce
sp ace.

In a d d itio n to t h i s , th e r e i s an added s p o n ta n e ity

i n th e m u sica l phenomenon o f sounds coming from p e rfo rm e rs who


(

a r e n o t v i s i b l e to th e a u d ie n ce and an added e x p e c ta tio n t h a t


a r i s e s in th e e n tr a n c e o f p l a y e r s

from o f f s t a g e during,, th e

c o u rs e o f th e m u sic .

T sadeus Kowzan h a s made some i n t e r e s t i n g

o b s e r v a tio n s on t h i s

a s p e c t o f w hat he c a l l s th e ' s p e c t a c t u l a r -

iz a tio n 1

o f m usic in th e r e c e n t a v a n t-g a rd e *
"Yet i t m ust be re c o g n iz e d t h a t , d e s p i te
a p p e a ra n c e s , th e y ( in s tr u m e n ta l t h e a t r e p ie c e s )
a re n o t d i r e c te d t o a s h o l a r l y e l i t e b u t t o a
wide p u b l i c , and th e y r e f l e c t c e r t a i n a s p i r a t i o n s
and a n x i e t i e s o f o u r tim e . A r t i s t i c p ro d u c tio n s
i n w hich r e a l movement i s u sed to th e f u l l e s t
e x te n t te n d to h o ld to th e maximum th e a t t e n t i o n
o f th e s p e c t a to r o f th e s p e c t a to r o r l i s t e n e r ,
to c a p tu r e him e n t i r e l y , to a b so rb him t o
th e g r e a t e s t d e g re e , and to make him a
p a r t i c i p a n t . Tfeey may even p ro v id e him w ith
a .c a t h a r s i s ."

46.
(

Tsadeus Kowzan, "Music and th e P l a s t i c A r ts :


In C onquest
o f Time and S p a c e ," D iogenes LX X III, (1 9 7 1 ), p . 19.

1
\
1
I
X

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

Echoes o f Time and th e R iver in i t s d e p ic tio n o f th e coining and


p a s s in g o f e v e n ts by th e coming and going o f th e p r o c e s s io n a l

p la y e r s would c e r t a i n l y f i t Kowzan's d e s c r i p t i o n .

The r e s u l t

i s b o th a more c l e a r l y d e li n e a t e d form al p a tt e r n i n g and a


h e ig h te n e d a t t e n t i o n on ^the p erfo rm an ce n o t o n ly f o r th e
in fo rm a tio n in th e m usic b u t i n th e p e rfo rm e rs them selves,,
t h e i r movements and p o s i t i o n s .
1
C rum b's c r e a tio n o f 'l a r g e r rh y th m s' in th e s u c c e s s io n
o f e v e n ts i s v ery p l a i n l y a p p a re n t i n Dream Sequence f o r p ia n o ,
p e r c u s s io n , v i o l i n ,
*

'c e l l o and two o f f s t a g e g la s s h a rm o n ic a s.

In- t h i s w ork, th e two g la s s h arm o n icas s u s t a i n a h ig h s o f t


(

drone th ro u g h o u t w h ile th e o t h e r in s tru m e n ts perfo rm a long


c i r c l e m usic in th re e groups - th e p e r c u s s i o n i s t , th e p i a n i s t
and th e v i o l i n and 'c e l l o as a duo.

The work p r o g r e s s e s a s a

c i r c l e m usic c r e a tin g a long sequence o,f i s o l a t e d v ^ i o n s ,


f r e e l y su c c e e d in g and o v e rla p p in g w ith e ac h o th e r , a l l a t an
e x tre m e ly s o f t dynamic l e v e l .

As th e work p r o g r e s s e s , one i s

v e ry l i k e l y to become aware o f a 'l a r g e r rhythm ' in t h e i n t e r v a l


o f e n t r y o f th e in d iv id u a l g ro u p s .

The p e r c u s s i o n i s t le a v e s

from f i v e t o seven seconds betw een each o f h is fra g m e n ts , th e


p ia n o betw een sev en and te n , aid th e v i o l i n and 'c e l l o , betw een
ten and t h i r t e e n seconds so t h a t w h ile th e p e rfo rm e rs p la y
in d e p e n d e n tly o f each o t h e r , c r e a t i n g a f l u c t u a t i n g p a t t e r n
in th e s u c c e s s io n and o v e rla p o f e v e n t s , th e r e i s an
a p p ro x im ate r e g u l a r i t y

w ith w hich each o f t h e p a r t s e n t e r s .

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103

Even la r g e r r e p e t i t i v e c y c le s can be seen i n th e d e sig n o f


th e work in t h a t each o f th e c i r c l e m usic groups r e p i a t s i t s
sequence o f m a te r ia l over and o v e r u n t i l th e v i o li n and 'c e l l o
have com pleted th r e e c y c le s o f t h e i r m a te r ia l.

The v i o l i n

and 'c e l l o p a r t s a re p a r t i c u l a r l y i n t e r e s t i n g because o f the


d i f f e r e n t mood d e s ig n a tio n s o f th e in d iv id u a l fra g m e n ts , {in
_ 0* d e r: "nervously* m iste rio so * la n g u id ly * , ^ b reath in g * * fra g ile *
I*

|i

il

h e rv o u s ly , sem p lice, un poco m echanico and b r e a th in g ) , l ik e


s h o r t em o tio n al e p iso d e s a g a in s t th e d e l i c a t e and s u b t l e ,
b u t e s s e n t i a f l y calm background in th e o th e r p a r t s .

In

l i s t e n i n g to the work one i s p a r t i c u l a r l y aware o f the v i o l i n


and 'c e l l o e p iso d es perhaps b ecau se o f th e l a r g e r i n t e r v a l o f
e n tr y betw een e p is o d e s and th e d i s t i n c t i v e n a tu re of t h e i r
m a t e r i a l.

The r e s u l t i s t h a t as one c o n tin u e s t o l i s t e n to

th e w ork, one becomes more in tune to th e v i o li n and c e l l o 's


i n t e r v a l o f e n tr y as a type o f - lo n g range m e d ita tiv e rhythm .
The work ends a s i t b e g in s , w ith th e sound of th e glassfc
h arm onica, b u t an added coda e p is o d e is in c lu d e d w ith a s h o rt '
e x c ite d o u t-b re a k in th e p ian o s o f te n in g i n t o a 'c ic a d a .
47
t
d ro n e '
(the s t r i n g s in a s h o r t fragm ent o f n ig h su l p o n t ic e llo tre m o lo p lu s s u s ta in e d harm onic b e fo re the f i n a l fa d e o u t
o f th e g la s s harm onica.

47.

The sound o f th e c ic a d a (a c r i c k e t - l i k e i n s e c t found


commdnly, i n Spain) i s a pro m in en t image in L o r c a 's p o e try
sy m b o lizin g th e n a tu r a l en erg y and warmth o f th e sun, s in c e i t
e m its i t s h ig h p itc h e d drone i n r e a c tio n t o the s u n l i g h t .

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104

Dream Sequence

exem pJJriies b o th th e stre a m o f c o n s c io u s

n e s s , d re a m -lik e e v o c a tio n in Crum b's m usic and h i s


o f a scheme o f l a r g e r c y c l ic a l o c c u rre n c e .

use

The u n d e rly in g

c y c l i c a l o r g a n iz a tio n o f tim e i s very a p p a re n t in th e g ra p h ic


la y o u t o f the s c o re ,

out b ecau se th e in d iv id u a l c y c le s a r e

so long and b ecad se t i e t e x t u r e r e s u l t s from th r e e sim u lta n e o u s


c y c le s , th e l i s t e n e r /f in d s only s u b t l e s u g g e s tio n s o f t h e l a r g e r
c y c l ic o r d e r i n th e ^ recu rren ce o f c e r ta in d i s t i n c t i v e g e s t u r e s .
Even though t h i s work i s e s s e n t i a l l y m e d ita tiv e in c h a r a c t e r ,
a m a rg in a l re fe re n c e i s se en to th e lo n g ran g e l i n e a r p a t t e r n i n g '
which i s c h a r a c t e r i s t i c o f C rum b's s t y l e . ^ T h is i s e v id e n c e d in
t h e s o lo drone o f th e g la s s harm onica a t b o th th e b e g in n in g
(

and end o f th e work, a ty p e o f lcfhg range t e x t u r a l r e t u r n , and


th e em ergence o f a dynamic high p o in t tow ards th e end o f th e
Ci

work in a s e r i e s of h ig h r e g i s t e r piano c h o rd s
e v e n tu a lly in to th e coda.

w hich l e a d

The p r i n c i p a l e v e n t, how ever, i s th e

lo n g s t a t i c f lu x of v is io n s in w hich th e l i s t e n e r can e x p lo re
th e f r e e a s s o c ia tio n o \ m a t e r i a l s and th e l a r g e r rh y th m ic s t r u c tu r e

Lux A etern a

f o r so p ra n o , b a s s f l u t e (and soprano r e c o r d e r ) ,

s i a r , and two p e r c u s s io n i s ts i s a n o th e r good example o f Crumb's


t

c o n tr o l o f th e 'l a r g e r rhythm ' w ith in a w ork.

I t p ro g re s s e s

a s an a l t e r n a t i o n betw een two d i f f e r e n t m usics n o t u n lik e t h a t


a t th e en d of N ight o f Four Moons.

The f i r s t m usic in w hich

'Lux A e te rn a ' t e x t i s s e t , c o n s i s t s o f a number o f e le m e n ts


in c lu d in g th e slow chim ing o f sim p le m elodic whole to n e d ia d s

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

TABLE I l l s

LUX AETERNA - LONG RANGE PATTERNING OP PHRASING AND DURATION


P h ra s e L e n g th s

'L u x A eterna*

1 -7

8-1 3

(7)

(6)

'M asked Dance*


'L u x A e te r n a '

49-62
(14)

'L u x A e te rn a *
'M asked Dance*
L u x !'

22-28

29 -3 5

26-41

(7)

(7)

(7)

(6)

41

27

76-80
81-86

13

94-96

2 *02"

l'O O "

3* 3"
104-108
(5)

113

3*05'

5 ' 5*
87-93*
(7)

97-103
(7)

C lo ck Time

1 '1 7 '
63-75
(13)

(6 )

'M asked D ance'

1 4 -21

42-48

'M asked D ance'


'L u x A e te r n a '

D u r a tio n
num ber o f
b a rs

109-112
(4)

16

1 '1 3 "

11"

15"
105

106

( c r o t a l e s p la te d upon tim p an i membranes,,

and v ery long

m e lis in a tic , q u a s i im provised m elodic l i n e s (m ostly whole tone


in p itc h s t r u c tu r e w ith some c h ro m atic em bellishm ent) in
th e f l u t e and so p ran o .

The a l t e r n a t e music (or r e f r a i n )

i s e n t i t l e d "Masked Dance: E legy f o r a Dead P r in c e " , and


c o n s i s t s o f a s i t a r drone on F w ith a sim ple r e p e t i t i v e
b u t r a p i d l y ornam ented l in e in t h e soprano r e c o r d e r , s i m i l a r
to th e In d ia n accompanied m elo d ic s t y l e s ( p a lla v i e t c . ) .
As seen i n th e summary of th e p r i n c i p a l d u ra tio n s (Table I I I ,
page 105) , the d u ra tio n of th e - a l t e r n a ti n g s e c tio n s become
p r a g r e s s iv e ly s h o r t e r , the 'Masked Dance' by two m easures
on each . r e i t e r a t i o n and th e 'Lux A e te rn a ' s e c tio n by
fo u rte e n a t l e a s t o v e r the f i r s t th re e s ta te m e n ts o f t h i s
s e c tio n .

As m entioned in th e p re v io u s c h a p te r , th e work

tr a c e s a n a r r a t iv e c u rv e in term s o f com plexity and a c t i v i t y


re a c h in g a high p o in t a t m easure sev en ty -tw o which i s v e ry
c lo s e to th e g olden
th e work.

mean p o in t in th e e n t i r e d u ra tio n o f

Lux A etern a

th e r e f o r e has a very ta n g ib le lo n g

range p a tt e r n i n g in th e g e n e ra l dynamic c o n to u r and in th e


s u c c e s s iv e d u ra tio n s o f th e r e f r a i n , which dw in d les to one
measure a t the c lo s e o f th e work.

I n d i v id u a ll y , th e 'Lux A e te rn a ' s e c tio n s form very


e le g a n t lo n g and slow ly d e v elo p in g l i n e s b o th in th e l y r i c a l

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107

p a r t s ( f l u t e and soprano) and in t h e p e r c u s s ! ^ g e s t u r e s .


The p e rc u s s io n g e s tu r e s (a n tiq u e cym bals are p la c e d on
a tim p a n i membrane, t h e te n s io n o f which i s .s h if te d a f t e r
the a n tiq u e cymbal i s s tr u c k c a u s in g a f l u c t u a t i o n i n
the re s o n a n c e o f the a n tiq u e cym bal) forming a ty p e o f
r e c u r r e n t m otto f ig u r e c o n s i s t in g f r e e l y o f two
whole to n e d ia d s , one a sc e n d in g , t h e o t h e r d e sc e n d in g ,
or b o th a sc e n d in g or b o th d e s c e n d in g .

The c o n tin u o u s ly

changing f i g u r a t i o n o f th e d i a d s , which a r i s e a ls o i n th e
o th e r in s tr u m e n ts , c r e a te s a ty p e o f sp o n ta n eo u s f l o a t i n g
p a t t e r n d e v ia ti o n .

E s p e c ia lly when i t i s g iv e n in th e

a n tiq u e cym bals and from f i v e to e i g h t seconds

e la p s e

betw een p itc h e s , an i n t e r e s t i n g te n s io n i s c r e a te d i n th e


l i s t e n e r ' s h a v in g to^>wait to see which way th e d ia d ic
p a tt e r n w i l l u n fo ld .

As w ith s i m i l a r a n tiq u e cymbal

f ig u r e s i n 'E choes o f Time and t h e R i v e r ', o r th e r e t u r n


I
of t h e 'c r i s t a l i n o ' i n to n a t i o n in "No piensam en l a
l l u v i a . . . " , th e d i s t i n c t i v e r e t u r n o f t h i s m a te r ia l d e li n e a t e s
much o f th e lo n g e r p e r io d ic movement in th e f i r s t two
'Lux A e te rn a ' s e c t i o n s .

The s c o r^ \E v e a ls a c e r t a i n n u m e ro lo g ic a l o rd e rin g
in t h e m e tr ic d u r a tio n o f th e e x te n d ed m elo d ic l i n e s of

c'

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

108

'Lux A e te rn a ' s e c tio n s ih to p h ra s e s of seven and t h i r t


een m easu res.

T his would o n ly be a p p a re n t to th e l i s t e n e r '

in term s o f a c e r ta in lo n g e r r e g u l a r i t y in th e p h rase
le n g th , b u t i t can be reg a rd ed as a type o f co m p o sitio n al
device which i s 'd e riv e d from th e r i t u a l i s t i c co n ce p tio n
and p r e s e n ta tio n o f th e work.

An i n t e r e s t i n g d e t a i l which

c re a te s a v e ry stro n g and a u d ib le s u g g e stio n o f th e r i t u


a l i s t i c o rd e r i s ' th e s in g le o c cu rre n c e i n each o f th e
'Lux A e te rn a ' s e c tio n s o f a c r i s t a l i n e qhord (tu b u la r b e ll s
and c r o t a le s ) to which th e soprano r e a c t s w ith a s i g n i f
ic a n t m elodic g e s tu re .

In th e l a s t th re e o f th e 'Lux

Aetefcna' s e c tio n s the tu b u la r b e ll and c r o ta le chord occur


a t n u m e ro lo g ic a lly s i g n i f i c a n t p o in ts in th e sc o re ( the

f1

t h ir t e e n t h b a r o f th e second s e c t i o n , th e seven b a r of
th e t h i r d s e c t i o n , and th e t h i r t e e n t h b a r o f th e fo u r th .
In th e f i r s t s e c tio n th e chord f a l l s on th e t h i r t y - t h i r d
bar) and p ro v id e s a r e c u r r e n t fo c a l p o in t fo r a long range
su c c e ssiv e com parison i n each o f th e s e s e c tio n s .

T his
5

p a r t i c u l a r g e s tu r e w ill most l i k e l y be understood by


th e l i s t e n e r as a r i t u a l i s t i c a l l y imposed ev en t b u t i t s
re c u rre n c ^ a ls o r e f l e c t s i n t e r e s t i n g a sp e c ts of th e la rg e
form o f th e work such a s the g e n e ra l dynamic grow th,
(the chord o c cu rs f i r s t as s f f z , th e n in th e second
s e c tio n s f f f z , th en pp i n the t h ir d and pppp in th e fo u rth )

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

109

'(

and th e prom inent dyadic p i tc h p a t t e r n . ( t h e up p er p itc h e s


".

o f th e c r o t a l e s over the fo u r o c c u rre n c e s tr a c e th e

'

m e lo d ic 'd ia d s AB, E?, l,ike th e d ia d ic whole tone p a tte r n s


in th e Lux A e te rn a ' s e c tio n s ] .
V

C e rta in o th e r r e p e t i t i v e d e t a i l s in 'Lux A e te rn a '


and ' Masked P r i n c e ' s e c tio n s become a p p a re n t to >th e
-

l i s t e n e r an become a so u rc e o f p r e d i c t a b i l i t y and a f f e c t i v e
d e v ia ti o n as t h e work p r o g r e s s e s .

One of th e s e i s th e whole

to n e m elodic p a t t e r n (C# D# F o r B G# D# F which le a d s


i n to th e F drone in each o f th e 'Masked Danoe' r e f r a i n s .
I t i s i n t e r e s t i n g to note the h e s i t a t i o n w ith which t h i s
i

p a tt e r n i s com pleted in t h e t r a n s i t i o n to th e f i n a l s in g le
b a r r e i t e r a t i o n of th e r e f r a i n .

S im ila r ly i t can be

n o tic e d t h a t a s in g le i s o l a t e d harm onic F n a tu r a l in th e


>

s i t a r in each re c u rre n c e s ig n ifie tT )th e end o f eaah o f the


Z' y
'Masked Dance' s e c tio n s . O ne^dJhtail o f extrem e lo n g range

d e sig n i s found in th e l^ast


th e "Lux A e te rn a ' s e c tio n s
S
where th e re i s a r e c a l l o f th e t r i l l e d cymbal (on th e
tim p a n i membrane) and ibowed tarn tarn s o n o r i t i e s o f th e open
in g s e c tio n , c r e a tin g a}n i s o l a t e d su g g e stio n o f a long range
a rc h form .

The i n t e r e s t i n g se n se o f tem p o ral o rd e r in 'Lux


A e te rn a ' r e s u l t s much as i n th e M adrigal "No piensam en l a

R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w itho ut perm ission.

,'

L..

110

\
1

l l u v i a . . . " s tu d ie d in th e p re v io u s c h a p te r , from a b a s ic
r e p e t it i v e c y c l i c o r g a n iz a tio n , (th e a l t e r n a t i o n betw een
the 'Lux A e te rh ^ ' and 'Masked Dance s e c tio n s ) , in

which

th e r e e v o lv e a d d it i o n a l long range p ro c e s s e s - th e n a r r a
t iv e curve and th e p ro c e ss o f th e s h o r te n in g ' o f th e d u ra tio n s
o f th e a l t e r n a t i n g s e c tio n s .

As in "No piensiun en l a l i u v i a

. . . " where (w ith th e r e p e t i t i o n o f th e h ig h B-F in th e v i b r a p h o n e), th e r e i s th e su g g e s tio n o f a ty p e c y c l ic m elodic


p ro c e s s , a s i m il a r se n se o f to h a l r e t u r n i s f e l t in Lux
A etern a

in th e re c u rre n c e o f th e s o p r a n o 's whole to n e m elodic

l i n e r i s i n g to th e F o f th e drone in th e'M ask ed Dance? s e c tio n . <


and in th e r e c u r r e n t F n a tu r a l harm onic a t th e end o f
th e 'Masked Dance' s e c t i o n s .

Like th e r e t u r n o f th e 'c r i s t a l i n e

in to n a tio n in th e s h o r t M ad rig al, th e r e p e a te d chords in


the 'Lux A e te rn a ' s e c tio n s c r e a t e a s e n s e o f a n o th e r v ery slow
e v o lv in g p ro c e s s in c o n n e c tio n w ith th e long range d i r e c ti o n
\

of th e m usic.
v
Music f o r a Summer Evening (Makrokosmos I I I )

f o r two

a m p lifie d p ia n o s and two p e r c u s s i o n i s t s , i s Crum b's lo n g e s t


com p o sitio n to d a te and as th e s u b t i t l e s s u g g e s t, i t
c r e a te s an e p is o d ic r e p r e s e n ta t io n o f a c o n c e p tio n o f
s p i r i t u a l cosm ic o r d e r .

The work c o m p rise s an a rc h form in

f iv e movements a^ in d ic a te d by th e fo llo w in g tim in g s and


s h o r t d e s c r i p t io n s o f th e s t r u c t u r a l c h a r a c t e r o f each 'o f

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

V.

ill

th e movements.

TABLE IV:

STRUCTURAL OUTLINE OF MUSIC FOR A SUMMER EVENING

I . 'N o c tu rn a l Sounds'
(The Awakening)
I I . . 'W anderer F a n ta s y '

I I I . 'T he A dvent'

'Hymn f o r th e N a ti
v i t y o f th e S ta r
C h ild '

IV . 'Myth*
N
V. 'M usic f o r a S ta rry N ig h t'
I n tr o d u c tio n
'Song o f R e c o n c ili
a tio n '

5 '1 7 " v e ry lo n g range , gradual.. .


dynamic and t e x t u r a l
c re sc e n d o
,
5 '1 2 " s e q u e n t i a l a l t e r n a t i o n o f
m a te r ia l betw een p la y e rs
im p lie d a rc h form r e t u r n
a t end

4 '1 0 " two lo n g c re sc e n d o g e s tu r e s


in an o s te n a to rhythm fo llo w ed
by an echo sequence o f d i f f e r e n t
m a te r ia l
/
3 '5 0 " re s p o n s iv e segm ents betw een
p la y e r s - two lo n g e r range
r e p e t i t i v e c y c le s ( a t d i f f e r e n t
p itc h e s ) and a t h i r d in v o lv in g
a ty p e o f echo o v e rla p betw een
p la y e r s
4 '5 7 " s e q u e n t i a l s u c c e s s io n o f
g e s t u r e s , u n d e rly in g iso rh y th m ic
s tru c tu re

4'2Q " d r a m a tic >seq u en ce o f m a te r ia ls


7 '4 0 " long ran g e dynamic and t e x t u r a l
grow th ( o s te n a to rhythm) v e ry
" g ra d u a l fa d e o u t.

can be se e n i n th e s t r u c t u r a l o u t l i n e o f th e p ie c e , th e r e
i s a ^ o n s l a t e n c y i n th e p a c in g of e p is o d e s w ith th e fo u r
to fi& e m in ute d u r a t i o n s , le a d in g t o th e e x te n d e d seven
Km in u te "Song o f R e c o n c i l l i a t i o n '.

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112

The p lac em en t o f a lo n g e x te n d ed movement a t t h e end o f


*

t h e w o r k 'is found in many o f Crum b's works a s a type o f lo n g


range c l o s u r a l g e s t u r e ,

in t h i s w ork, a s in th e c o n clu d in g

'M usic f o r th e End o f Time' i n Vox B a la n a e , th e -'Song of


R e c o n c i l l i a t i o ^ ' h a s a p o e tic s i g n i f ic a n c e , as a .ty p e o f
s p i r i t u a l c o n te m p la tio n o f th e e t e r n i t y o f tim e .
'S*

The lo n g ran g e a rc h form o f t h i s work i s a p p a re n t, o n ly


t o a v e ry l im i t e d e x t e n t in t h e r e c a l l

th e m a tic m a te r ia l

b u t i t can b e se n se d q u i te c l e a r l y i n th e v e ry long dynamic


g e s tu r e s o f th e o p e n in g and c lo s in g p i e c e s , and in c e r t a i n
more ten u o u s c o rre sp o n d e n c e s betw een W anderer F a n ta s y and
'Myth!

A lth o u g h 'M y th 'is iso rh y th m ic and*W anderer - Fantasy*

i s e s s e n t i a l l y a s e q u e n t i a l exchange o f p a s s a g e s betw een


p e rfo rm d rs , b o th c r e a t e th e im p re ss io n o f a d y n a m ic a lly
s t a t i c p r o g re s s io n o f b lo c k s o f m a te r ia l i n c o n t r a s t to
th e longj'dynam ic g e s t u r e s .

An adtiT'tiional c o rre sp o n d e n ce

c an be seen i n th e f a c t t h a t 'W c ^ e s e r - F a n t a s y c o n s i s t s
m o ftly o f an i n t e r a c t i o n b e tw e e n 'th e two p i a n i s t s
i

and'Myth* i s a lm o st e x c lu s iv e ly f o r th e two p e r c u s s i o n i s t s .
The 'Hymn f o r th e N a t i v i t y o f th e S t a r C h i ld ' makes
u se o f th e s h o r t r e i t e r a t e d G re g o ria n C hant-like f ig u r e
upon which a r e p e a te d f i f t h f ig u r e from th e end o f t h e

i n tr o d u c tio n o f t h i s movement i n tr u d e s i n each o f th e th r e e


se q u en c es o f th e hymn.

Wi,th 'Hymn f o r t h e N a t iv i t y o f th e

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

lh

113

S t a r C h ild ' a s th e c e n t r e o f th e a rc h fam, i t can be seen


'

how i n M usic f o r a Summer E v e n in g , Crumb a g a in ?in j u x t a . p o sin g a s e r i e s o f o n ly v a g u e ly r e l a t e d e p is o d e s ,


c r e a t e s a se n se o f u n d e rly in g p o e ti c and formal o r g a n i z a t i o n .

I t i s wor.th lo o k in g in d e t a i l a t one p a ssa g e o f M usic


f o r ^ i Summer E vening

a s an exam ple o f t h i s p a r t i c u l a r se n se

o f u n d e rly in g p o e ti c and fo rm al o r d e r which Crumb c r e a t e s .


'M usic f o r a S ta r r y Night* b e g in s w ith a sequence which f e a t u r e s
o
*>
#
th e c o n t r a s t betw een w id e ly d i f f e r e n t s t y l e s n o t u n lik e Lux
A e te rn a o r th& end o f N ig h t o f F our Moons.

^e

^-wo s t y l e s

in t h i s c a se a re th e m y s te r io u s , a to n a l s o n o r i t i e s t y p i c a l
o f C rum b's s t y l e

( p a r t i c u l a r l y p ro m in e n t among th e s e i s a

c a s c a d in g f i g u r e r e c u r r i n g r i t u a l i s t i c a l l y unchanged w ith
th e d i r e c t i o n o f " f a n t a s t i c , o r a c u l a r " ) and a q u o ta tio n
i
from B ach, W ell Tempered C l a v i e r , Volume I I , Fugue Number
E ^ g h t.

The p a ssa g e p r o g r e s s e s a s sum m arized in th e sc h e m a tic

d iag ram (T able V, page 11$) in a s u c c e s s io n o f i n d i v i d u a l


e v e n ts w hich c r e a t e a ty p e o f l a r g e r rhythm i p ^ t h e i r r e l a t i v e
dur a t i o n

(th e predom inance o f s i x , sev en and e i g h t ' second

d u r a tio n s ) and th e im p l i c a ti o n o f a ty p e o f c y c l i c form


<4

in t h e i r r e c u r r e n c e .

I t i s i n t e r e s t i n g in l i g h t o f C rum b's

n u m e ro lo g ic a i d e v ic e s to n o te t h e f i v e f o l d o c c u rre n c e o f
t h e c a s c a d in g a r p e g g ia tio n in c o rre sp o n d e n c e w ith th e
f i v e f o l d g a l a c t i c b e l l s o f t h e fo llo w in g 'S o n g 'tJ ^ R e c o n c ilia tio n !

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

"O
5 ^
o

Q.

C
o
CD

Q.

with permission of the copyright owner. Further reproduction prohibited without permission.

TABLE V:

SCHEMATIC DIAGRAM OF THE DURATIONAL PATTERNING IN THE INTRODUCTION


TO'MUSIC FOR A STARRY NIGHT'

o p e n in g c h o rd a l
trip le t +
re s o n a n c e
7"

' c a s c a d in g
a rp e g g ia tio n *
6"

Bach
q u o ta tio n

c h o rd a l
t r i p l e t CLn echo)
+ r e p e a te d n o te
fig u re
7"

' c a s c a d in g
a rp e g g ia tio n '
6"

'c a s c a d in g
j t r p e g g i a t i o n -*

m id r e g is t e r
trill

mid and
lo w er
re g is te r
trill

" s triv in g b u t fa llin g "


24"

5"

Bach
q u o ta tio n
" s tr iv in g b u t fa llin g "
22"

c h o rd a l
trip le t
( in echo)
+ r e p e a te d
n o te f^ itu re
15"

" s tr iv in g , a tta in in g !
24"

6"

41

c a s c a d in g
a rp e g g ia tio n *

4'

g l is s over
low pno,
s tin g s +
re s o n a n c e

c a s c a d in g
a rp e g g ia tio n *

g lis s over
low pno.
s trin g s +
re s o n a n c e

1*
6"

"

6"

114

Bach
q u o ta tio n

5"

g l i s s over
low p n o . ,
s trin g s +
re s o n a n c e
8"

1 f
13

115

<>

At th e b e g in n in g o f t h e p a s s a g e , Crumb p r e s e n t s a
q u o ta tio n from R ilk e , "Und i n den N achten f a l l t d ie schw ere
Erde aus a l i e n S te rn e n in d i e E in s a m k e it.

Wir a l l e

fa lle n .

tfnd *doch i s t e i n e r w elcher d i e s e s F a lle n u n ^ n d lic h S a n f t


in s e in e n Handen h a lt " ('A nd in th e n ig h ts the heavy e a r th
>
i s f a l l i n g from a l l th e s t a r s down i n to l o n e l i n e s s . We
a re a l l f a l l i n g .

And y e t t h e r e i s One who h olds t h i s f a l l i n g

e n d l e s s l y i n His h a n d s." )

w hich i s d i r e c t l y r e f l e c t e d in

th e om usic i n th e downward c a s c a d in g a r p e g g ia tio n s i n th e p ia n o s


and i n th e upward 's t r i v i n g ' b u t ' f a i l i n g ' o f th e Bach
q u o ta tio n .

The q u o ta tio n e n t e r s v e ry s u r r e a l i s t i c ^ a l l y a s a

ty p e of n o s t a l g i c r e c o l l e c t i o n , amid th e 'r o a r o f d i s t a n t
th u n d e r '

(th e g lis s a n d o o v e r th e low r e g i s t e r p ia n o s t r i n g s )

and i n i t s f i r s t two o c c u r r e n c e s , a s i n d ic a te d i n t h e s c o r e ,
i t 's

m elo d ic l i n e r i s e s b u t d e sc e n d s a t th e e n d .

The t h i r d

o c c u rre n c e o f th e q u o ta tio n how ever 's t r i v e s ' to a c l e a r


c a d e n t i a l p o in t i n t o F# m ajo r a t w h ich , by a l l im a g in a b le
t o n a l e x p e c ta io n s , th e E# m ust r i s e to F # . Crumb h a s even
m arked 'a t t a i n i n g ' a t t h i s p o i n t i n th e s c o r e , and th e
t h i r t e e n second pause le a v e s th e l i s t e n e r hanging i n a n t i c i
p a ti o n o f some Ejort o f r e s o l u t i o n o f th e E#.
o c c u rs in ^ - r e m a r k a b le way.

The r e s o l u t i o n

The E#, tra n s p o s e d up an a c ta v e

and t r a n s f i g u r e d w ith th e a d d i t i o n o f t h e c r o t a l e s on t h e
same p i t c h , becomes th e f i r s t o f th r e e p i tc h e s (E#, D#, B#)
^

in a slow and g e n tly d e sc e n d in g c h o rd a l f :i^ui


ig u r e (se v en seco n d s

Y
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116

on e a c h ch o rd ) which i s th e f i r s t o f th e
B e l l s ' o f th e 'Song o f R e c o n c i l l i a t i o n ' .

F iv e fo ld G a l a c ti c
From t h i s p o in t

th e ' Song o f R e c o n c illia tio n 1 e x te n d s to th e end of th e work


in a v e ry long an d g ra d u a l dynam ic sw e ll and f a d e - o u t .

I t i s i n t e r e s t i n g to n o te i n / c o n n e c tio n w ith t h e key


p i t c h e s o f t h i s p a s s a g e , t h a t i t i s p a r t o f a c o n c e p tio n
o f to n a l c e n t r e s on D# and F# w hich Crumb has e x p lo i t e d
e a r l i e r i n 'The A dvent1.

In

'The A d v e n t', i t i s se e n in

th e o p e n in g c re sc e n d o g e s t u r e s a s w e ll a s the seq u en c es
o f "Hymn f o r th e N a tiv ity o f S ta r C h ild " yjhich c e n t r e on D#
and jF b u t i n th e Bach q u o ta tio n , i t i a a case o f m elo d ic
l i n e r i s i n g from D# m inor t o n a l i t y and n e v e r q u i te a t t a i n i n g
F# m a jo r.

Much o f th e u n f o r g e t t a b l e - e f f e c t o f th e i n tr o d u c to r y
p a ssa g e o f 'M usic fo r a S t a r r y N ig h t' i s f e l t i n th e su sp en se
^ .

o f h e lo n g e r rhythm s and j u x t a p o s i t i o n o f th e d i s p a r a t e
e le m e n ts b u t p e rh a p s th e m ost s t r i k i n g x e a t u r e i s t h e d o u b t
and e x p e c ta tio n t h a t a r i s e s a t t h e c r u c i a l 'a t t a i n i n g '
p o i n t of t h e f i n a l o c c u rre n c e o f th e q u o ta tio n a s t o how
tI

th e E# w i l l be m e a n in g fu lly r e s o l v e d .

The s o lu tio n i s

s t a r t l i n g and r e v e a l i n g , a n e g a tio n o f t h e t r a d i t i o n a l
s t r u c t u r a l , e m o tio n a l t e n d e n c y o f th e t o n a l i t y in t h e
q u o t a t i o n , b u t th e i n d i c a t i o n of a h ig h e r meaning i n which
( '

th e E# h a s an e le g a n t p p e tic and s t r u c t u r a l m eaning, as i t

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117

i s r e p e a te d o v e r t h e c lo s in g e p is o d e o f th e work in t h e
'F i v e f o l d G a la c tic B e l l s '. S im ila r t o th e d e p ic tio n o f
th e 'C o lla p s e o f Tim e' in E choes o f Time and th e R iv e r ,
t h i s i n tr o d u c to r y p a ssa g e to 'M usic f o r a S ta r r y N ig h t' i s
a good exam ple o f Crum b's o r g a n i z a t i o n o f th e tem poral and
e m o tio n a l q u a l i t i e s o f d i f f e r e n t m u s ic a l m a t e r i a ls w ith in

an u n d e rly in g p o e t i c d e s ig n .

A lth o u g h th e fo u r works d is c u s s e d in t h i s c h a p te r
p r e s e n t w id e ly d i f f e r e n t v a r i a t i o n s i n Crum b's tr e a tm e n t o f
lo n g -ra n g e d e s ig n , i t has been p o s s i b l e to i s o l a t e in t h i s
d is c u s s io n im p o rta n t a s p e c ts o f C rum b's g e n e r a l o r g a n i z a t i o n
(

o f m u sic a l e x p e r ie n c e .

A l l o f th e works s tu d ie d (and in d e e d a l l o f C rum b's


works i n g e n e r a l) c o n s i s t o f a.

s u c c e s s io n

. of s h o rte r

e p is o d e s in w hich th e r e em erges a ty p e o f lo n g range form


o r p ro c e ss.

In Echoes o f Time and th e R iv e r , Music f o r a

Summer
E v en in g , and Lux
A ii^I
e te m a , th e e p is o d ic q u a li t y o f th e
1
11

g e n e r a l d e sig n i s q u i t e t r a n s p a r e n t .

In Dream Sequence

i t i s l e s s im m e d ia te ly o b v io u s, b u t n o n e th e le s s p r e s e n t amid
>

th e g e n e r a l f lu x o f m a te r ia ls o f th e c i r c l e m usic..

In a ll

c a s e s , c l o s e l y a s s o c ia te d w ith the! e p is o d ic o r g a n iz a tio n


o f m a t e r i a l i s a ty p e o f long ra n g e p a c in g .
i
|
I

T h is c o u ld

be n o t ic e d m ost r ig o r o u s ly i n Lux A e te rn a i n th e g r a d u a l
(

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118

s h o rte n in g o f th e d u ra tio n s o f t h e a l t e r n a t i n g s e c t i o n s ,
b u t an im p o rta n t lo n g e r range p a c in g was a ls o o b serv ed i n
Echoes o f Time and th e R iver ( th e r e l a t i v e c o n s is te n c y o f
th e f i f t y to se v e n ty second d u r a tio n in th e s u c c e s s io n o f
e p iso d e s) and Music f o r a Summer E vening (th e s u c c e s s io n
o f f o u r t o f iv e m inute p ie c e s le a d in g to th e seven m inute
Song o f R e c o n c i l l i a t i o n a t t h e end o f the w o rk ).
Dream Sequence

In

a s i m il a r though much s h o r t e r p a cin g becomes

a p p a re n t in/ th e te n to t h i r t e e n second i n t e r v a l o f e n tr y
between th e v i o l i n and 'c e l l o e p is o d e s th u s c r e a t i n g a ty p e
o f vague and m e d ita tiv e lo n g e r rhythm d u rin g th e e x te n d e d
c i r c l e m usic f lu x o f e v e n ts .

In i s o l a t e d p assag e w ith in th e works d is c u s s e d , i t was


p o s s ib le to n o t ic e and stu d y C rum b's tr e a tm e n t of v ery slow
rhythm s i n th e s e q u e n tia l r e p e t i t i o n o f d i s t i n c t i v e tim b r a l
and g e s t u r a l m a t e r i a l s .

In s ta n c e s o f t h i s abound i n Echoes

o f Time -and th e R iv e r, b u t i t was a ls o o b se rv ed in Lux


A eteraa (th e slo w ly u n fo ld in g d i a d i c p a tt e r n s ) and in M usic
fo r a Summer Evening (in 'M u sic f o r a S ta rr y Night* i n t h e
abundance o f s i x to e i g h t seco n d d u r a tio n s and th e d i s t i n c
t i v e , r e p e t i t i o n s o f th e c a sc a d in g a rp e g g ia tio n s and t h e
Bach q u o ta tio n ) .

Much o f th e e f f e c t o f such p a ssa g e s c o u ld

be u n d e rs to o d i n term s o f th e c l a r i t y o f th e r e p e t i t i o n s ,
b u t v e ry slow pace o f th e s e q u e n tia l p a t t e r n i n g which c a u s e s
(

'

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(.

<
the l i s t e n e r t o w a it and ex ten d t h e norm al p e rc e p tu a l
span i n o r d e r tt> g ra s p th e s u s p e c te d p a t t e r n i n g as i t u n f o ld s .

The f o u r w orks d is c u s s e d in t h i s c h a p te r ex em p lify i n


t h e i r d i v e r s i t y th e g e n e ra l c o n c e p tu a l freedom w ith w hich
Crumb d e te rm in e s
*

th e la r g e s c a le form and meaning in h is

m usic.

Each e x p re s s e s a d i f f e r e n t ty p e o f po6 t i c r e p r e s e n t-

a tio n .

In Echoes o f Time and th e R iv e r i t i s th e r i t u a l and

s t a t e s o f tim e c o n sc io u s n e ss in v o lv e d in a ty p e o f continuum
and t h e a t r i c d ra m a tic form .

M usic f o r a Summer E vening

p r e s e n ts i s o l a t e d v i s i o n s of a cosm ic o r d e r , which d e s p i t e
th e la c k o f th e m a tic r e p e t i t i o n b etw een movements im ply
(

a type o f m y ste rio u s u n d e rly in g a rc h form in t h e i r s u c c e s s io n .


Lux A etecn a a l t e r n a t e s betw een two e s s e n t i a l l y m e d ita tiv e
b u t c o n t r a s t i n g s t y l e s i n a v e ry g ra d u a l p ro c e s s which ev o
much o f t h e r i t u a l and se n se o f te m p o ra l e x p an sio n i n th e
title .

In Dream Sequence

th e se n se o f p o e ti c r e p r e s e n ta t io n

i s v e ry s t r a i g h t f o r w a r d , in th e s t a t i c drone o f the g l a s s
[

harm onica and th e p ia n is s im o f lu x o f e p is o d e s .

I t is in te re s t

in g to n o te t h a t b o th Lux A e te m a and Dream Sequence p r e s e n t


]

o v er t h e i r long range o r g a n iz a tio n p ro c e s s e s w hich have

been n o te d to o c c u r w ith in in d iv id u a l e p is o d e s in Crum b's

If

m usic:

5
\
(
I

j
|

c i r c l e m usic and the

a l t e r n a t i o n betw een two

d i s t i n c t l y d i f f e r e n t s t y l e s (a s i n th e 'M u sica Humana

aihd. th e "M usica Mundana1 a t th e e n d o f th e N ig h t o f Four


('

Moons) .
.

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120

Very g e n e r a l l y in th e works s t u d i e d , how ever, C rum b's


two common id io m s o f lo n g range u n i t y ^ t h e n a r r a t i v e c u rv e
and th e a rc h form a r e i n e v id e n c e .

The n a r r a t i v e curve

i s found q u i t e d i s t i n c t l y in b o th Lux A e te rn a

and Echoes

o f Time an d th e R iv e r, and th e s u g g e s tio n o f a rc h form i s


--------------------------------------------------------------------------

an im p o rta n t a s p e c t o f th e o v e r a l l u n i t y in Echoes o f Time


and th e R iv e r and Music f o r a Summer E v e n in g .

Even in

Dream Sequence where th e c e n t r a l o r g a n iz a tio n o f m a t e r i a l i s


(

a complex f l u x o f m a te ria l* th e r e i s th e s u g g e s tio n o f a rc h


Vi

form i n th e s o lo d ro n e o f th e g l a s s harm onica a t th e b e g in n in g


and end o f th e w ork, and a s l i g h t i m p lic a tio n o f n a r r a t i v e
curve i n t h e s h o r t dynamic o u t b u r s t o f th e p ia n o which
s u b s id e s i n t o th e p ia n is s im o co d a.

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121

A
CHAPTER IV:

SU
M
M
A
R
Y AND PERSPECTIVE

It has become generally apparent in this study that


Crumb's style combines Important elements of what can be
described (using Rochberg's terminology) as the 'temporal'
and 'spatial' images of music, or modes of experience which
are dominated respectively by the subjective anticipation
and objective acceptance of musical events.

In the dis

cussion of the general features of Crumb's musical language,*


it was seen that one of the principal points of interest in
his style is the integration of a variety of musical materials
and types of formal organization (both traditional and
(

avant-garde) within a larger hierarchical design.

M
uch of

the fundamental nature of Crumb's combination of a diversity


of materials can be understood in terms of the association
of his music with the poetry of Federico Garcia Lorca.
This is evident both in Crumb's rich and highly evocative
sonic imagery which reflects the dream-like

awareness and

mysterious primitive spiritualism of Lorca's style, and in


Crumb's use of obvious repetitions which suggest more
simplistic popular forms.

In terms of'-musical time, Crumb's

music, like Lorca's poetry, combines the more spontaneous


and Unpredictable stream of consciousness effects with
/

the implication through various forms of return and


repetition of a long range formal design.

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122-

In f u r t h e r e x p lo rin g Crum b's m u s ic a l la n g u a g e , i t


co u ld be se e n t h a t c e r t a i n r e l a t i v e l y silitp le c o m p o s itio n a l
idiom s f ig u r e p ro m in e n tly i n the b a s ic p r e d i c t a b i l i t y and
q u a l i t y o f m u s ic a l tim e w ith in i n d iv i d u a l p a s s a g e s o r
e p is o d e s .

V ery g e n e r a lly , th e n a tu r e o f b o th lo w er le v e l

and lo n g e r ra n g e p a tt e r n i n g in C rum b's m usic r e l a t e s to two


4
b a s ic m u sic a l and p e r c e p tu a l f o r c e s , t h e s e n s e o f dynamic
form and c o n t i n u i t y

(th e l y r i c a l and d ra m a tic g e s t u r e s ,

th e lo n g e r ra n g e c re s c e n d i and dixmnMendi and th e n a r r a t i v e


curve} and t h e se n se o f an o rd e re d seq u en ce o f d i f f e r e n t i a t e d
u n its

(the r e p e t i t i v e o r r e i t e r a t i v e p a t t e m i n g s o r th e

a rc h fo rm ).

The r e p e t i t i o n o f d i s t i n c t i v e m a t e r i a l l ^ o r

g e s tu r e s in C rum b's m usic c r e a t e s b o th an i s o l a t e d p r e d i c t a


b i l i t y w ith in th e re p e a te d m a t e r i a l o r p a s s a g e , and an
im p lic a tio n o f a lo n g e r ra n g e s e q u e n t i a l p a t t e r n i n g which can
beN d isco v ered by th e l i s t e n e r .

I t was h o te d g e n e r a lly

t h a t ^ t h e v e ry slow p a cin g o f e v e n ts i n such s e q u e n t i a l re p e <


t i t i o n s in many p a ssa g e s h ad th e e f f e c t o f a llo w in g th e
N

l i s t e n e r tim e to g ra s p th e

r ic h t im b r a l nuance o f Crum b's

so u n d s, b u t a l s o made th e lo n g e r ra n g e s e q u e n tia l o r g a n i z a t i o n
l e s s r e a d i l y a p p a re n t^ c a u s in g th e l i s t e n e r to - e x te n d h is
norm al p e r c e p tu a l span in o r d e r t o f u l l y ap p reh en d th e
s e q u e n tia l d e s i g n .

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123

Thh n a tu r e o f th e r e p e t i t i o n in such s e q u e n t i a l l y
o rg a n iz e d p a ssa g e s has much t o do w ith the. se n se o f tem poral
direction in individual episodes. E x ac t, u n d e v ia tin g

re p e titio n s

c re a te th e im p re ssio n o f a s t a t i c , u n d e v elo p in g s u c c e s s io n .
G radual p ro c e s s e s , a re im p lied th rough v a rie d r e i t e r a t i o n s
\

o r d e v ia tio n s i n r e c u r r e n t e v e n ts .

A number o f d i f f e r e n t /

ty p es o f g ra d u a l p ro c e ss e s w ere seen i n Crum b's m usic


in v o lv in g sim p le m e lo d ic , harm onic o r rhythm ic developm ents
o r t h e a t r i c i n t e r a c t i o n betw een p la y e r s ( i . e . , 'e c h o '
re sp o n se s e t c . )

or p ro c e ss e s o f g ra d u a l dynamic growth

o r decay.

A f u r t h e r su sp en sio n o f th e se n se o f d i r e c te d tim e is
found in Crum b's m usic in th e more complex p a ssa g es which
r e s u l t 'f r o m th e s u p e rp o s itio n * d iffe re n t r e p e a tin g c y c le s
o f m a t e r i a l.

I n th e c ase o f two c y c le s e v o lv in g s im u lt

a n e o u sly , (as i n 'M y th 'o f Music fo r a Summer Evening o r


th e opening p r o c e s s io n a ls o f 'F ro zen Tim e1 o f Echoes o f
Time and the R iv e r) th e r e s u l t i s a sim p le sequence o f
e v e n ts w ith o b v io u s re c u rre n c e s b u t w ith an u n p re d ic ta b le
o r d e r in g .

In th e c a se o f more than two superim posed

c y c le s o f m a te r ia l a s i n th e in s ta n c e s o f c i r c l e m usic,
th e e f f e c t i s t h a t o f a complex te x tu r e o f ^ o v erlap p in g
e v e n ts and in w hich c e r t a i n f ig u r e s o r g e s tu r e s sp o n tan eo u sly

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124

p ro tru d e and a re n o tic e d by th e l i s t e n e r .

The g e n e ra l

se n se o f c o m p le x ity and u n p r e d i c t a b i l i t y in t h e o c c u rre n c e


o f e v e n ts in p a ssa g e s o f c i r c l e music i s o fte n accompanied
>
by i s o l a t e d in s ta n c e s o f r e p e t i t i o n and a s e n se o f d i r e c t i o n
in th e g ra d u a l r i s e and f a l l in te x tu r e a s th e in d iv id u a l
p a r t s e n t e r and i n tu r n com plete t h e i r c y c le s o f m a t e r i a l.

In a d d itio n to th e s e b a s ic

tocde5 o f o r g a n iz a tio n ,

c e r t a i n o th e r common t r a d i t i o n a l ty p es o f p a ssa g e s l i k e
<

th e o s te n a to rhythm s, th e d ro n e , v a rio u s l y r i c a l s t y l e s
and even in s ta n c e s of q u o ta tio n o r im m ita tio n o f to n a l
o r modal s t y l e s , a r i s e in Crum b's m us^c, each having i t s
own unique s t y l i s t i c tem p o ral q u a l i t y w hich i s in te g r a te d
i n to a l a r g e r m eaning.

Crum b's m u sic , t h e r e f o r e , p r e s e n ts a ty p e o f com posite


image in which a type o f l a r g e r s c a le p r o c e s s i s im p lie d in
th e su c c e ss io n o f e p is o d e s o f d i s t i n c t i v e l y d i f f e r e n t
m a te r ia ls and o r g a n i z a t i o n s .

In th e seco n d c h a p te r ,

i t waa n o ted t h a t v ery commonly in C rum b's m u sic , th e su c c e ss


io n o f e p is o d e s c r e a t e s th e im p re ssio n o f lo n g range a rc h form
o r n a rra tiv e c u rv e .

The 4 lo n g e r works s tu d ie d in c h a p te r 3,

d i d f w ith d i f f e r i n g d e g re e s o f c l a r i t y , r e f l e c t th e p re se n c e
W*
o f th e s e lo n g e r range id io m s, b u t in a d d i t i o n , much o f th e
g r e a t d i v e r s i t y i n th e form o f. th e s e p ie c e s c a n be a t t r i b u t e d

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,
^

125

to th e p resen c e o f o th e r long range p ro c e s s e s o f


developm ent which a re lin k e d to d i f f e r e n t e v o c a tio n s and
p o e tic a s s o c ia tio n s in v o lv e d in th e

in d iv id u a l w orks.
a

As

w ith th e ^ p ro c e ss e s o b serv ed in th e fo rm a l^ o rg a n iz a tio n of


in d iv id u a l e p is o d e s , th e sen se o f long ran g e d i r e c t i o n
f

i s d ependent upon th e c l a r i t y and p r e d i c t a b i l i t y o f th e


%
p ro c e s s . E xact and u n d e v ia tin g r e p e t i t i o n s o f l a r g e r
e p iso d e s c r e a te a se n se of s t a t i c u n d ev elo p in g form ,
as do th e ju x ta p ^ jo s itio n s o f a p p a re n tly u n r e la te d e p is o d e s .
i

The sen se o f a lo n g e r ran g e p ro c e ss in Crum b's m usic a r i s e s


very sim ply from t h e c r e a t i o n o f n o tic e a b le d if f e r e n c e s
and n o tic e a b le r e l a t i o n s h i p s betw een e p is o d e s .
^

The c l a r i t y

of lo n g range d e sig n i s t h e r e f o r e , one o f th e key f e a tu r e s


I n th e a n a ly s is o f th e p a r t i c u l a r g lo b a l q u a l i t y o f m u sical

tim e in .th e fo u r works s tu d ie d i n c h a p te r t h r e e .

D esp ite

th e c o n s id e ra b le d i f f e r e n c e s in t h e long ran g e d e sig n of


th e s e works a common f e a t u r e among them (b e s id e s th e
re fe re n c e to a rc h form and n a r r a t i v e c u rv e ) i s th e i n t e g r a l
r o l e o f th e p a c in g o f th e lo n g e r d u r a tio n in th e long rang e
o r g a n iz a tio n and e f f e c t .

Dream Sequence, a s n o ted in th e lo w e r l e v e l e p is o d ic


in s ta n c e s o f g i r c l e m u sic, e x e m p lifie s a type o f s t a t i c
m e d ita tiv e p ro c e s s - s t a t i c in t h a t - i t e x i s t s on a c o n s is te n t
ppp o r pppp dynamic l e v e l and t h a t th e in d iv id u a l e p is o d e s

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

----

126

w hich a r i s e sp o n ta n e o u s ly a re more o r

l e s s u n r e l a te d .

The a c t u a l p ro c e s s o f Dream Sequence i s o b v io u s in th e


s c o re - th e sim u lta n e o u s s u p e r p o s itio n o f th r e e r e p e t i t i v e
s e p a r a te c y c le s o f m a t e r i a l , b u t in th e l i s t e n i n g
e x p e rie n c e th e v e ry g ra d u a l p ro c e s s i s o n ly se n se d i n th e
r e g u l a r i n t e r v a l o f e n tr y o f th e v i o l i n and 'c e l l o e p is o d e s
and in c e r t a i n n o t ic e a b l e b u t u n p r e d ic ta b le r e p e t i t i o n s o f
*

d i s t i n c t i v e g e s t u r e s w ith in th e e x te n d e d f l u x o f m a t e r i a l.

A more r e a d i l y a p p a re n t long ra n g e p ro c e s s i s e v id e n t
i n Lux A e te m a in t h e e v e n tu a lly p r e d i c t a b l e and r i t u a l i s t i c
a l t e r n a t i o n betw een th e 'Lux A e te rn a ' and 'M asked Dance'
s e c tio n s .

I n t e g r a t e d i n t o t h i s s i m p l i s t i c p ro c e s s how ever,

i s th e v e ry s u b t l e and i n t e r e s t i n g lo n g ra n g e developm ent i n


th e g ra d u a l s h o rte n in g o f th e d u r a tio n o f th e a l t e r n a t i n g
s e c t i o n s , and th e t r a c i n g o f a long ran g e n a r r a t i v e c u rv e .
As i n th e slow p a ce d s e q u e n t i a l r e p e t i t i o n s in th e low er l e v e l
o r g a n iz a tio n o f Crum b's m u sic, th e u n iq u e e f f e c t o f Lux
A e te m a can b e se e n in t h e v e ry tr a n s p a r e n t o r g a n iz a tio n o f
e x tre m e ly lo n g d u r a tio n s i n t o th e g ra d u a l p r o c e s s .

The l i s t e n e r

i s f r e e to ta k e in th e sp o n ta n eo u s d e t a i l s o f t h e in d iv id u a l
e p is o d e s b u t m ust s t r e t c h h i s p e rc e p tu a l span t o ta k e in
;

th e lo n g e r ran g e p r o c e s s .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

127

Echoes o f Time and th e R iv er and Music f o r a Summer


S'

Evening have th e very g e n e r a l s i m i l a r i t y t h a t th ey p r e s e n t


in t h e i r s u c c e s s iv e e p is o d e s r a d i c a l l y d i f f e r e n t form al
o rg a n iz a tio n s and tem p o ral q u a l i t i e s .

In Echoes o f Time and

the R iv e r, t h i s was se e n in th e j u x t a p o s i t i o n o f slow and


t r a n s p a r e n t echoing seq u en ces w ith more complex u n p re d ic ta b le
c i r c l e m usic p a s s a g e s .

Music f o r a Summer E vening p re s e n t's

the c o n t r a s t o f very lo n g and p r e d ic ta b le dynamic g e s tu r e s


w ith e p is o d e s which f e a t u r e a more s e q y i n t i a l and d y n am ically
s t a t i c o r g a n iz a tio n .

Because o f th e extrem e c o n t r a s t in

th e n a tu r e o f th e i n d iv id u a l e p is o d e s , th e g lo b a l sen se o f
tim e in Mysic fo r a Summer E vening i s t h a t o f a s t a t i c
s u c c e s s io n , b u t as n o te d in th e a n a l y s i s , d e s p i te th e absence
o f th e m a tic r e t u r n i n t h i s w ork, th e r e i s th e s tro n g
im p lic a tio n o f an u n d e r l y in g a rc h form in t h e t e x t u r a l and
g e s t u r a l c o rre sp o n d e n c e s betw een th e f i r s t and l a s t e p is o d e s
and betw een th e second and f o u r th .

T his can be c o n tr a s te d

to Echoes o f Time and th e R iver where th e a r c h form i s s tr o n g ly


im p lied i n th e cf^neral th e m a tic r e t u r n b u t i t i s n o t e v id e n t
in term s o f th e t e x t u r e and o r g a n iz a tio n o f he,. in d iv id u a l
e p is o d e s .

A f u r t h e r i n t e r e s t i n g p o in t o f s i m i l a r i t y betw een th e
tre a tm e n t 6 f m u sica l tiipe i n th e s e two works can be
n o tic e d i n t h e i r in v o lv e m en t o f s tr o n g ly g o a l d i r e c t e d 1

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

128

e p is o d e s (th e o s te n a to o f th e 'C o lla p s e o f Tim e' and th e Bach


I
q u o ta tio n i n 'M usic f o r a S t a r r y N ig h t') in a l a r g e r

p o e ti c m eaning th u s u s in g th e 'd i s c o m f o r t ' o f c o n t i n u i t y


(to r e f e r back t o K ra m e r's rem arks c i t e d in th e f i r s t
c h a p te r) w ith in a l a r g e r c o n te x t.
i

Echoes o f Time and th e R iv e r

i s th e m ost com plex

of

'fhe works d is c u s s e d i n t h i s s tu d y and* th e m o s s e s Is+WvT to


any c a t e g o r i z a t i o n in te rm s o f any one s p e c i f i c type o f
lo n g ran g e p r o c e s s .

The g e n e r a l s u c c e s s io n o f e p is o d e s

i n t h i s work i s r i t u a l i s t i c and u n p r e d i c ta b l e , b u t th e
e p is o d e s th e m se lv e s in t h e i r s u c c e s s io n a re h ig h ly i m p l i c a ti v e
o f a lo n g ra n g e m eaning in term s o f th e v a r io u s e le m e n ts
o f t e x t u r a l and th e m a tic r e t u r n and in term s o f th e p r o c
e s s i o n a l movements and a p p a re n t t h e a t r i c i n t e r a c t i o n s betw een
th e p la y e rs .

In th e a n a l y s i s , i t c o u ld be se e n t h a t

i n ti m a t e l y c o n n e c te d w ith th e p a r t i c u l a r tr e a tm e n t o f th e
lo n g ran g e a rc h form and n a r r a t i v e c u rv e o f t h i s work
a r e th e p o e ti c im ages o f s t a t i c

'f r o z e n 1 tim e , a 'c o l l a p s e '

o r tem p o ral d i s c o n t i n u i t y and th e n o tio n o f t h e 'r i v e r o f


tim e ' a s a con tin u u m w ith o u t b e g in n in g o r e n d .

Much o f th e

s e n s e o f tim e as an e n d le s s continuum i s im p lie d iri t h i s


work in th e e n d in g w here d e s p i te th e e le m e n ts o f c lo s u r e
( th e g e n e r a l th e m a tic r e t u r n and t h e d e p a r tu r e o f th e
p r o c e s s io n a ls ) th e r e i s an e le m e n t p f o p e n n ess and
!

&

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

123

'i/

c o n t i n u i t y in th e i n tr o d u c tio n o f new th e m a tic m a t e r i a l


and in th e f a c t t h a t th e r e has been no s u g g e s tio n o f a rc h
form r e t u r n i n term s o f t h e t e x t u r a l o r g a n iz a tio n o f th e l a s t
movement.

>

In p la c in g Crum b's m usic i n p e r s p e c tiv e w ith o th e r


s t y l e s o f th e a v a n t- g a r d e , two i n t e r e s t i n g com parisons
can be made.

As m entioned in th e second c h a p te r , Joan


o

K unselm an-Cordes h a s d is c u s s e d Crum b's m usic a lo n g w ith t h a t


o f s e v e r a l o th e r contem porary Am erican com posers a s a r e f l e c
t i o n o f some o f th e f e a t u r e s o f 'm onum entalism ' w hich i s
c h a r a c t e r i s t i c o f th e m usic o f C h a rle s I v e s .

Among th e s e

com posers, th e 's tr e a m o f c o n s c io u s n e s s ' n a r r a t iv e - d r a m a t i c

c o n c e p tio n o f m u sic a l form i s found s i g n i f i c a n t l y in George


R o c h b e rg 's Music f o r the Magic T h e a tre (1965) in which th e r e
i s a th e m a tic and t h e a t r i c tre a tm e n t o f t h i s m u s ic a l tim e
s i m i l a r to th e p o e t i c a l l y c o n ceiv ed o r g a n iz a tio n o f m a te r ia ls
w hich was seen in Crumb' s Echoes o f Time and th e R iv er and th e
'M usic f o r a S t a r r y N ig h t' of Music f o r a

Summer E vening.

R o c h b e rg 's comments on M usic f o r th e Magic T h e a tre r e f l e c t


much o f th e same g e n e ra l c o n c e p tio n s o f tim e and form
t h a t was d is c u s s e d in c o n n e c tio n w ith Crum b's m u sic .
"Even though o th e r com posers (V a rese, Web
,
M ah ler, B eethoven) a r e q u o te d , my p rim a ry /
i n t e r e s t was n o t in a raw o r l i t e r a l p r e s e n t a ti o n

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

130

o f a v a r i e t y o f s o u r c e s , b u t r a t h e r in th e
p r o j e c ti o n o f an a lm o st c in e m a tic s e r i e s o f
s h i f t i n g id e a s and l e v e ls w hich n e v e r th e le s s
combine in an i n e v i t a b l e f a s h io n , d e s p i te
sh a rp c o m b in a tio n s and p a ra d o x es to p roduce
a t o t a ] / u n i t y . In i t s c o m b in atio n s
o f th e p a s t and p r e s e n t , o f seem ingly a c c i
d e n ta l , u n r e la te d images whose p lacem en t in th e
stre a m o f tim e obeys no a p p a re n t l o g i c , th e
work p a rta k e s o f th e s t a t e o f dream ing - w hether
a s le e p o r awake; and -lik e a l l dream s, i t
becomes a f a n t a s y , a f i c t i o n o f th e m ind, nonth e le s s r e a l."
48
if

W hile t h i s i s n o t th e p la c e f o r a d e t a i l e d a n a l y s i s o f t h i s
w o rk , f t i s o f i n t e r e s t to n o te some s i m i l a r i t y in th e
c o m p o s itio n a l idiom s in v o lv e d in t h i s work w ith th o s e o f
Crum b's s t y l e .

The j u x t a p o s i t i o n o f d i s p a r a t e e le m e n ts

in s u b tle tra n s itio n s o r s h a rp c o n t r a s t s i s in ti m a t e l y lin k e d


to an u n d e rly in g t h e a t r i c n a r r a t i v e m eaning which Rochberg
h a s made e x p l i c i t in th e s tu d y s c o re in th e fo llo w in g
i n tr o d u c tio n s t o th e t h r e e a c t s

o f th e work.

Act I : ' - " in w hich "the p r e s e n t and p a s t a r^


a l l mixed u p . . . . and i t i s d i f f i c u l t to d e c id e
o r know where r e a l i t y i s . "
Act I I : - " in w hich th e p a s t h a u n ts u s w ith i t s
n o s t a l g i c b e a u t y . . . and c a l l s t o us from th e
deeps and in n e r s p a c e s S i h e a r t and m in d ...
b u t th e p a s t i s a l l shadow and dream i n s u b s t a n t i a l . . . and we d o n 11 h o ld on t o
i t b e c a u se th e p r e s e n t i s to o p r e s s i n g ."
Act I I I : - " in w hich we r e a l i z e t h a t o n ly
th e p r e s e n t i s r e a l l y b a d . . . because i t i s
a l l we h a v e , b u t i n th e end i t to o i s shadow
and dream and d is a p p e a r s - i n t o w h a t? H

, t
!
>
1

48.

George R ochberg. M usic f o r th e Magic T h e a tr e , (New York;


D esto C.M.S. Records", 1975 DC
n o te s on re c o rd c o v e r.

49.

George R ochberg, M usic f o r th e Magic T h e a tr e , (Bryn Mawr


P e n n sy lv a n n ia ; Theodore P r e s s l e r , 1 9 65).

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

S i m i la r ly , th e i n t e r a c t i o n o f m u sic a l t h e a t r i c e n t i t i e s
(

i s p o r tr a y e d as was o b se rv e d i n Crum b's m u sic , in t h e p acin g


o f th e s u c c e s s io n o f e p is o d e s a s w e ll a s t h e i r o c c a s io n a l
s u p e r p o s i t io n and in v a rio u s c o rre sp o n d e n c e s i n p i t c h and
in s tr u m e n ta tio n some o f th e v a r io u s m a t e r i a l s .

A n o th e r

i n t e r e s t i n g f e a t u r e i n t h i s work w hich i s a ls o found i n


s e v e r a l of Crum b's p ie c e s i s th e d ra m a tic and p o e ti c s i g n i f i I
can ce o f an e x te n d ed p a ssa g e o r p ie c e w ith in a w ork.
In
C rum b's m u sic, t h i s was o f t e n o b se rv e d i n th e f i n a l movement
o r p a ssa g e o f a work (as i n th e 'Song o f R e c o n c il i a t i o n ' o f
Music f o r a Summer E vening o r th e ' Music fo r th e End o f Time'
o r Vox B a la n a e ) b u t i n R o c h b e rg 's Music f o r th e Magic T h e a tre
i t i s th e second a c t , ( c o n s i s t i n g a lm o st e n t i r e l y o f a rew ork$
in g o f M o z a rt's D iv e rtim e n to K. 2 8 7 ), w hich c o n s t i t u t e s a
i
s i m i l a r l y e x te n d e d d u r a t i o n , r e p r e s e n ti n g th e c a p t i v a t i n g
b e a u ty o f th e m usic o f th e p a s t .

I n r e l a t i o n to Crumb and R o c h b e rg 's t h e a t r i c o r 'a lm o s t


c in e m a tic ' use o f c o n tr a s t in g s t y l i s t i c m a t e r i a l s i t i s i n t e r
e s t i n g to make n o te o f an o b s e r v a tio n made by Jo n a th o n Kramer
on th e r o l e o f t h i s e le m e n t i n w hat he f e e l s t o be a 'g l o b a l
s t a t i c i s m ' i n con tem p o rary m usic w hich i s a c h ie v e d th ro u g h
th e j u x t a p o s i t i o n o f h ig h ly c o n t r a s t i v e m u sic a l m a t e r i a l s
and o r g a n i z a t i o n s .
"My a s s e r t i o n t h a t s t a t i c i s m i s r e l a t i v e t o
c o n te x t
i s s u p p o rte d by s t y l i s t i c a l l y e c l e c t i c
m usic such a s W illia m B olcom 's F re s c o e s , some o f
th e m usic o f P e t e r M axwell D a v ie s, George
50.

See f o o tn o te 14 o f c h a p te r o n e .

s
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

R o c h e rb e rg 's T h ird Q u a r te t , o r to go back to th e


s o u rc e , s e v e r a l works o f Iv e s such as th e two
p ia n o s o n a ta s , P u tn a m 's Camp o r p a r t s o f th e
F ourth Symphony" In a l l o f th e s e p i e c e s ,
th e re a re to n a l s e c t i o n s a lo n g s id e n o n to n a l
p a s s a g e s . T o n a lity i s h eard as a p o s s i b i l i t y o f
the p a r t i c u l a r c o m p o s itio n , b u t s u r e l y n o t as i t s
u n iv e rs e o f d is c o u r s e . The r e s u l t i s t h a t th e
to n a l s e c tio n s a re re n d e re d s t a t i c by c o ^ J r a s t
w ith th e v a rio u s n o n to n a l s u rro u n d in g s .
A lthough Crumb's m usic p r e s e n ts th e same c o n t r a s t o f h ig h ly
d i s t i n c t i v e and a p p a r e n tly u n r e la te d m a t e r i a ls w hich a re
c h a r a c t e r i s t i c o f th e moment form p ie c e s which Kramer d is c u s s e s ,
i t does n o t

r e p r e s e n t th e same s t a t i c and d i r e c t i o n l e s s

g lo b a l c o n te x t w hich Kramer o b s e rv e s o f t h i s m u sic.

S i m i la r ly ,

i n com paring Crum b's m usic w ith R o ch b erg 's Music f o r th e Magic
T h e a tre i t can be n o te d t h a t R o c h b erg 's work makes i n t e r e s t i n g
u se o f a t h e a t r i c program , b u t p r e s e n ts an e s s e n t i a l l y non
d i r e c t e d image w hereas Crum b's m usic makes more p e r c e iv a b le
r e f e r e n c e to long ran g e m u sic a l p ro c e s s e s and idiom s o f
c o h e re n c e in th e j u x ta p p o s itio n o f m a t e r i a l s , and a p p a r e n tly
l e s s s y s te m a tic use o f th e t h e a t r i c program .

T h e -p re s e n c e ^ in Crum b's m usic o f b o th th e g ra d u a l


p ro c e s s and th e a l l u s i o n to r i t u a l e x p e rie n c e i n v i t e s a
more c o n t r a s t i v e com parison w ith th e m usic o f S te v e R e ic h .
I n much o f R e ic h 's m usic (Four O rg a n s, Drumming)a slow and
g ra d u a l p ro c e s s e v o lv e s th ro u g h r e p e t i t i o n s o f sim p le to n a l

51.

Jo n a th o n Kram er, "Moment Form in T w en tieth C en tu ry


M u sic ," The M usical Q u a r te r l y , (1 9 7 8 ), p . 183 - 1 8 4 .

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

133

p a t t e r n s , which s y s te m a tic a lly become tra n s fo rm e d in ways


w hich become h ig h ly p r e d i c ta b l e to th e l i s t e n e r .

R e ic h 's

own comments on th e g ra d u a l p ro c e s s o f h is m usic a re


p a r t i c u l a r l y w orth n o tin g :
rung to an e x tre m e ly g ra d u a l m u sic a l
''opens my e a r s to i t , b u t i t alw ays
f a r t h e r th an I caiTTaear ancT t h a t
makes i/t i n t e r e s t i n g t o l i s t e n t o t h a t
m u sical p ro c e s s a g a i n
I b e g i n 't o p e rc e iv e
the&e m inute d e t a i l s when I can s u s t a i n c lo s e
mention and a- g ra d u a l p ro c e s s i n v i t e s my s u s
ta in e d a t t e n t i o n . . By "g ra d u a l" I mean e x tre m e ly
^gradual; a p ro c e s s h ap p en in g so slo w ly and
g ra d u a lly t h a t l i s t e n i n g t o i t re se m b le s w atch in g
a m inute hand on a w atch - you can p e rc e iv e i t
moving a f t e r you s ta y w ith i t f o r a w h ile ."
In c o m p a riso n , th e v e ry s^ w rhythm s o f Crum b's n ^ s ic
s i m i l a r l y te n d tow ards d im e n sio n s which e x te n d f a r t h e r than
t h e / e a r can h e a r , and s i m i l a r l y p u t an em phasis upon t h e
un iq u e and s u b t l e q u a l i t i e s o f sound which Crumb c r e a t e s in
h i s m u sic .

In term s of a lo n g e r range p ro c e s s Lux A e te m a

and Dream Sequence

p r e s e n t th e l i s t e n e r w ith a se n se o f

slow movement which can o n ly be f e l t w ith s u s ta in e d c lo s e


a t t e n t i o n much l i k e th e more m ec h an ica l and u n d e v ia tin g
p r o c e s s e s o f R e ic h 's m usic.

A v a lu a b le g e n e ra l o b s e r v a tio n

on th e r e c e n t i n t e r e s t in g r a d u a l m u sica l p ro c e s s e s h a s been
made by Roger Reynolds i n h i s d e s c r i p t i o n o f w hat he term s
th e " c lo s e p e r s p e c tiv e " o f m u s ic a l e x p e rie n c e .

52.

S te v e R eich , W ritin g s About M usic, ( H a lifa x : P r e s s


o f th e Nova S c o tia C o lle g e o f A rts and D esign P u b lic a tio n
1 9 7 4 ), p . 11.

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134

"In th e v i s u a l m e ta p h o r, t h e c lo s e p e r s p e c tiv e
would in v o lv e th e r e l a t i v e e n la rg e m e n t/o f e v e n t
s iz e and th e c o n se q u e n t slow ing down of th e w hole
p ro c e s s o f r e c e iv in g and e v a lu a tin g component
ite m s in a s u c c e s s io n . The huge c o lo r f i e l d
can v a ses o f p a i n t e r Mark Rothko a r e o f te n seen
d e l i b e r a t e l y hung so t h a t i t i s im p o s sib le to
s te p back f a r enough t o g a in s u f f i c i e n t p h y s i c a l
d i s t a n c e - t o ta k a in t h e whole a t one g la n c e .
Unable to r e g i s t e r in s ta n ta n e o u s ly th e
p r o p o r tio n s o r c o lo r b a la n c e s o f th e whole
in th e ways a p a in t i n g i s u s u a lly a p p reh en d ed ,
th e v iew er i s fo rc e d t o s e a rc h v i s u a l l y and s t o r e
im p re ss io n s in tim e w ith a p e rh a p s c a p r ic io u s
b u t n o n e th e le s s s p e c i f i c c h ro n o lo g y . One has t h i s
f e e l i n g in La Monte Y oung's "The T o r to i s e ,
His Dreams and J o u rn e y s " and in some o f th e njusic
o f T e rry R ile y and S te v e R eich w here an e x tre m e ly
c lo s e p e r s p e c tiv e i s u s e d . . . The p ace o f e v o lu tio n
in th e s e w orks i s slow ed down to a d e g re e t h a t
" e v e n ts" a s m u sic ia n s n o rm a lly th in k o f them
do h o t seem to e x i s t . . . . S l i g h t s n o rm a lly
"u n im p o rta n t" d e v i a t i o n s w i l l assume a new s ta tu s ."

The i n t e r e s t i n g f e a t u r e of c o n t r a s t betw een


R e ic h 's m usic and w hat c o u ld be c o n s id e re d 'p r o c e s s p i e c e s '

in C rum b's s t y l e (Lux A e tern a and Dream S equences) i s th e


a p p a r e n tly o p p o s ite n a tu r e o f t h e i r m u ^ c a l m a t e r i a l s R e ic h 's u s e o f m ech an ical u n ifo rm o b je c tiv e sounds and
C rum b's u s e o f a ly r ic a ] , r i c h l y s u b j e c t iv e and c o n n o ta tiv e
t
im a g e ry .
"!>

53.

j '

Roger R eynolds, Mind M odels,


p . 2 0 7 -2 0 8 .

(New York, P r a e g a r , 1975)

(')

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

135

In c o n c lu s io n , a few rem arks can be made re g a rd in g


t

th e r e l a t i v e m e r its o f th e p e r s p e c tiv e o f 'm u s ic a l tim e '


in th e a n a l y s i s o f contem porary m usic.

The a p p ro ach ta k e n

in t h i s stu d y h a s v ery sim p ly b een to g iv e an a cc o u n t


of th e b a s i c e le m e n ts o f s t y l e and s t r u c t u r a l p ro ce d u re
w hich can be ta k e n to c o n s t i t u t e a g iv e n m u sic a l la n g u a g e ,
and th e n t o a n a ly s e s p e c i f i c w orks in term s o f th e p a r t i c u l a r
,e le m e n ts w hich g iv e r i s e t o th e s u b j e c t iv e a n t i c i p a t i o n o f
e v e n ts ( i . e . a se n se o f p ro c e s s o r developm ent) and th o se which
c o n t r i b u t e to an o b j e c ti v e a c c e p ta n c e o f e v e n ts w ith o u t
a n tic ip a tio n .

Given th e g r e a t v a r i e t y o f m u sica l la n g u a g e s

in c o n te m p o ra ry m u sic, t h i s p e r s p e c t i v e ,a s p u rsu e d h e re (and


<

n o ta b ly e ls e w h e re in th e w r i t in g s o f M eyer, l a Rue, Narmour,


Kramer e t c . ) o f f e r s a v i a b l e m id d leg ro u n d betw een t h e
e x tre m e s i n th e a n a l y s i s o f m u s ic a l s t r u c t u r e and th e d e s c r i p
tio n o f

e s th e tic e f f e c t.

I t i s p a rtic u la rly s u ita h le

f o r th e d i s c u s s io n o f s t y l e s l i k e t h a t o f George Crumb
w hich c r e a t e a new c o n te x t f o r t r a d i t i o n a l fo rm al o r g a n i z a t i o n ^
sit
r e s u l t i n g in a d i s t i n c t i v e l y d i f f e r e n t se n se o f t o n a l o r d e r
in m u sic .

In s tu d y in g th e e s t h e t i c e f f e c t and s e n se o f m u s ic a l
p r o c e s s e s i n in d iv i d u a l w orks, i t has a ls o been p o s s ib l e
to r e l a t e c e r t a i n f in d in g s i n e x p e rim e n ta l p sy c h o lo g y
I

f
Ii
I
1

( p a r t i c u l a r l y th o s e p r e s e n te d by P a u l F r a i s s e in t h e
f i

'N
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

Psychology o f Time) re g a rd in g th e fundam ental p er-ceptual


te n d e n c ie s and th e very b a s ic a b i l i t y to a s s o c ia te e v e n ts
^in sequence.

These fin d in g s and f u r t h e r re s e a r c h in t h i s

a r e a can be o f p a r t i c u l a r i n t e r e s t i n th e stu d y o f m u sical


tim e from a more c o m p o sitio n a l view p o in t sin c e th ey o f f e r

V
k

some i n s i g h t in o b j e c ti f y i n g th e p e rc e iv e d e f f e c t o f c e r t a i n

One f i n a l advantage which can b e su g g e ste d in p u rsu in g


and d e v e lo p in g th e p e rs p e c tiv e o f m u s ic a l tim e i s t h a t i t
p ro v id e s a b a s i s f o r th e d e s c r i p t io n of th e n a tu re
o f th e a c c e s s i b i l i t y o f d i f f e r e n t s t y l e s to th e ir a u d ie n c e s .
\

The p a r t i c u l a r m u sical lo g ic by w hich c o n tin u ity and d i s )

c o n tin u ity i s u n d ersto o d in Crum b's s t y l e can be r e l a t e d t o th a t


of

com parable b u t d iv e r g e n t s t y l e s l ik e th o se of S teve

Reich o r George Rochberg in d e v e lo p in g a more g e n e r a l u n d e r


sta n d in g o f th e s t y l i s t i c d i r e c t i o n s and te n d e n c ie s which
a re o f in flu e n c e in contem porary a r t jnusic.

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

#
137

(?,

'

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_ _ _ _ _ _ _ _ _ _ _ _ _ _ M usic, th e A rts and th e I d e a s .


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B a ltim o re ,

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P r e s s , 1975.

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R e ic h , S te v e .

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H a l if a x , N .S .:

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xp
pIr e s s io n .
___V
__ic
__to r io u s E
EX
u n i v e r s i t y o f W isconsin P r e s s , 1964.
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C asterm ann, l97T \
!
7
*

M adison:

T o u m a i:

R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.

E d itio n s

DISCOGRAPHY

Crumb, G eorge. A n c ie n t V oices o f C h ild r e n . Jan de G a e ta n i,


mezzo; ..M ich ael Nash, t r e b l e ; C ontem porary Chamber
Ensem ble, A rth u r W eisberg cond. 'Nonsuch 7/2-5*5* n o te s
by th e com poser.
Echoes o f Time and t h e R iv e r . L o u is v il l e
O r c h e s tr a , J o rg e M ester cond. L o u is v il l e LS 711.
r

____ _
Lux A e te rn a , Dream' S equence, Four N o c tu rn e s.
J a n de G a e ta n i, so p ran o ; Penn C ontem porary P la y e r s ,
R ic h a rd W ernigk cond. A eolean Chamber P la y e r s , Lewis
K ap lin d i r . , Lewis R o s e n b lith , v i o l i n ; . David Hagen;
p ia n o .
Colum bia Odyssey Y 35201.

'

_________
M a d rig a ls , B k.s I -IV . E liz a b e th Suderberg
s o p ra n o , David S h ra d e r p e rc u s s io n , F e l i x Skowronek
f l u t e , Pamela Vokolek h a rp , W. R in g er W arner d ouble
b a s s . T ournabout TV-34523.
J
~~

N ig h t ,of Four Moons, VoxB a la n a e .


G aetani* m ezzo* The A eolean Chamber P la y e r s .
M*32739, n o te s by th e com poser.

Ja n de
Columbia

Music f o r a Summer E v e n in g . G ilb e r t K a lis h ,


James Freeman p ia n o , Raymond Des R o sn e s, R ich ard
F i t z p e r c u s s io n . Nonsuch 9 / 3 / / , n o te s by th e com poser,
Rochb<iawr_George. Music f o r th e Magic T h e a tr e . Chamber
SyOT&pny. Penn Contem porary P l a y e r s , R ich a rd W ernick
Cond. D esto C.M .S. R eco rd s, DC 6444 D1975, n o te s by
th e com poser.

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141

LIST OF SCORES
V
'- J

B o u lez, P i e r r e S t r u c tu r e s V ol. 1; f o r 2 p ia n o s , 4
h a n d s. London: U n iv e r s a l, 1955
Cage, John

4 '3 3 " ;

New York: Thenmar P re ss 1967

Crumb, George A n c ien t V oices o f C h ild r e n ; f o r ^ o p ra n o ,


b6y s o p ra n o , o b o e , m a n d o lin , h a r p , e l e c t r i c p ia n o ,
p e r c u s s io n . New Y ork, C .F . P e t e r s C o rp ., 1971
Crumb, George Black A n g e ls : f o r e l e c t r i c s t r i n g q u a r t e t .
New York C .F. P e t e r s C o rp ., 1971
Crumb, George Dream Sequence Images I I ) f o r . p ia n o ,
p e r c u s s io n , v i o l i n , 'c e l l o ana two o f f s t a g e g la s s
** h a rm o n ic a s. New Y ork: C .F . P e t e r s C o rp ., 1978
Crumb, George Echoes o f Time and th e R iv er (Echoes I I ) :
f o u r p r o c e s s io n a ls f o r o r c h e s t r a . M e l v il l e , New
York: Belwin M ills P u b lis in g C orp.* 1968
Crumb, George Lux A e te rn a ; f o r so p ra n o , a l t o f l u t e ,
s i t a r , two p e r c u s s i o n i s t s . New York: C .F . P e te r s
C o r p .,1972
Crumb, George > M ad rig als Book I ;
C o rp ., 1972

New York:

C .F . P e te r s

c.

Crumb, George Music f o r a Summer E v en in g ; (Makrokosmos


III)
f o r two a m p lif ie d .<?pranos and p e rc u s s io n (two
p l a y e r s ) . -New Y ork: C .F . P e te r s C o rp ., 1974
4

Crumb, George N ig h t o f F our Moons; f o r a l t o ^ a l t o f l u e ,


b a n jo , c e l l o , p e r c u s s io n . New Y ork: C .F . P eters*
C o rp ., 1970

Crumb, George Songs, D ro n es, .and R e fra in s o f D eath;


fo r b a rito n e , e l e c t r i c g u ita r , e l e c t r i c c o n tta b a s s ,
e l e c t r i c p ia n o , p e r c u s s io n . New York: C .F . P e t e r s
C o rp ., 1971
I v e s , C h a rle s T hree P la c e s in New E n g la n d ^ an o r c h e s t r a
s e t . B ryn, k a w r.. Pa.., T. P r e s a f e r C o ., 1935
L i g e t t i , G yorgi A tm o sp h eres; f o r f u l l o r c h e s t r a w ittio u t
p e r c u s s io n , u n i v e r s a l , 1971

r-

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'

142

L i g e t t i , Gyorgi
1968

Volumina?

f o r o rg a n .

F ra n k f u rt H. L i t o f f

R ochberg, George Music f o r th e Magic T h e a tr e ; f o r a chamber


en sem ble o f f i f t e e n p l a y e r s . Bryn Mawr, P a .,T . P r e s s l e r Company. 19*72
S to c k h a u se n , K a rlh e in z
U n iv e rs a l, 1963

G ruppen;

f o r th r e e o r c h e s t r a s .

X e n ak is, I a n n is M e ta s ta s is ; f o r f u l l o r c h e s t r a .
B oosely and Hawkes, 1967 '

London

London,

e x c e r p ts from th e s e s c o r e s p h o to c o p ie d w ith p e rm is s io n
o f th e p u b lis h e r .

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