Escolar Documentos
Profissional Documentos
Cultura Documentos
; O
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
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>
August 1979
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ii
ACKNOWLEDGEMENT
A s p e c i a l n o te o f
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iii
ABSTRACT
A d is c u s s io n o f th e
'
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
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ABREGE
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("Mo piensam en
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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*
-
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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
a u tr e s c o m p o siteu rs A raericains a c t u e l s .
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
e
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENT
........................................
ABSTRACT ...........................................
ABREGE
ii J
iii
................................................... .............
iv
..vi
CHAPTER I :
v ii
...................
I n tr o d u c tio n . . . .
14
CHAPTER I I I : A n a ly s is o f S e le c te d Wo^ks,
63
121
BIBLIOGRAPHY...........................................................
137
ISCOGRAPHY............................................................
140
141
o
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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 :
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
86
EXAMPLE IV:
EXAMPLE V:
o
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v ii
LIST OF TABLES
Page
TABLE 1:
22
, TABLE I I I :
; ......................
69
D u ra tio n ....................................
105
Ill
TABLE V:
111}.
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CHAPTER I :
j
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.
S i m i la r ly , com posers, i n
contem porary a u d ie n c e s .
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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
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
(
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
/
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
1
f
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
In a d d i t i o n , some c o n s id e r a tio n w i l l
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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
(
'
^
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
( F a l l , 1963) >P . 9 - 1 0 .
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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
3.
c >
Any
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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
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
S im ila r ly ,
as
of
new to n a l re s o u rc e d .
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
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4.
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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
Webern
(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
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
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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
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^ !
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 -
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#*
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*
7.
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10
As Jonathon Kramer h as o b se rv ed
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11
At th e
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
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
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
little
A lthough
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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 ,
(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 .
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
14
CHAPTER I I :
In g e n e r a l te rm s, Crum b's
As w i l l be seen in
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
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15
s
/
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
th e
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 .
r>
:/
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16
,
'
'
w orking in
(F iv e P ie c e s f o r P iano,
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 .
( 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:
i>
'c a n to jo n d o '
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 .
>'
<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
]
'
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:
;
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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.
( ")
r
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(M adison,
19
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 .
in and of
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
-s
( 1
w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
20
"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.
(
J
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
TABLE I:
drumming p attern
(tambourine, lujon)
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.)
"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
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)
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)
i
r
!
|
[
ahort
r e p e titiv e
pattern
"de la hoguera."
*
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
\
\
T r a n s la tio n by
^Stepljan Spender and
J .L . G ili
t
(
'
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
25
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
in
th e g u i t a r s u g g e s tiv e
Again, in t h i s p ie c e , th e r e f l e c t i o n
'
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
*
|
|
s
i
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
i
26
S u b tle changes in th e t e x t
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
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.
o u t o f th e w r itin g s
.49
( )
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 .
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
27
S im ila r ly th e c o n tr a s t o f
T h is i s a g a in
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
28
A d d itio n a lly , in
T his emerges
la tte r
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
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
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 ,
I t is
r a r e t h a t a n y th in g m o re \th a n an
As w i l l be''
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.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
30
In
18.
19.
c
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
31
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
1 '
>
* *
'
( ':
. ' " \ -
w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
32
'
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
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
(See
sc o re on pages 33 and 3 4 ).
V
<
The o pening c r i s t a l i n o
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.
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 "
*4
iv
* + .
'
ilu -
/WT
'T
f-fr
W- . .
ViWfkm
. .
CsittnWu
.ppp
..
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)
VtVriptw*J
[A.ool^Tj
(Wv)
pppp
MM
CortlrttatJ
> f>u
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
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
T b# ^
* # Hi I
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
rhythm (v ib rap h o n e r i g h t
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 .
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
In t h i s p a ssa g e
C)
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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 .
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
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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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
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
With th e r e - e n tr a n c e o f the so p ra n o
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 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-
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
g e s tu re s .
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
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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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.
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
\ 24.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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
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
25.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
/ ,
'
'
'
tempo
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 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
|
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who i s in t u r n jo in e d by th e
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
In th e
'R a in -D ea th Music
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
I t i s i n t e r e s t i n g to
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
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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
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
, >.
- '
27..
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
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,
(
'
'
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
th e o p en in g c r i s t a l i n e
,
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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
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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
i .
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'i
i
'
'
'
'
'
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
47
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 .
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 .
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 .
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 .
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 .
T his c o u ld be seen o n ly to a l i m i t e d
>
in
D eath.
,
{-
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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
Very
^ i
49
N o ta te d
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
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 .
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 .
The te c h n iq u e d iv id e s
%
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
If
50
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
*
In term s of m u sic a l
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
29.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
"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 ."
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
sounds
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
of ritu a l
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
The l i s t e n e r can o n ly
s
31.
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S3
^ .
c a p a b il i ty of p r e d i c ti o n .
'
th e numbei o f n o te s in s p e c i f i c rhythm ic
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
^ -
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
become deeply ro o te d
|
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|
I
|
I
I
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has n o ted in a r e c e n t a r t i c l e .
j
( )
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\
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 ."
/
^
Of th e p ie c e s m entioned,
in Makrokosmos I I ,
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.
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.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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;
'
JC
t
G e n era lly
,itt
In Crumb's
One o f th e M adrigals
i s a v e ry good example
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^
and th e m a tic m a t e r i a l .
re ite ra tio n of
On a
Much o f th e immediate
G a rc ia L o rca.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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
1
1
I
I
''
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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
'
An i n t e r n a l p r e d i c t a b i l i t y
I t is
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60
^ j
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
61
The sen se
\
%
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
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
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V7
62
^ |
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
63
CHAPTER I I I :
/
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
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
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
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64
( j
T his i s no
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 ,
a ty p e
36.
37.
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65
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 ,
(
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
I
f
V
I
r e l a t e d t o th e m u sic a l form .
fo r
o f t h e 'p e r c u s s i o n
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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 .
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 ).
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 .
\
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
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
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
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
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.
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 .
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
68
th e m a tic d i r e c t i o n of
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 ,
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 .
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
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with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE I I ;
' 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"
1 :1 0 -2 :1 3
68
2 :1 3 -2 :2 5
12"
:2 5 -3 :2 2
57"
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\
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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"
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"
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 .) ,
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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
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'L a s t E choes
o f Tim e1
1 5 ;3 0 -1 6 :5 5
1 6 :5 5 -1 8 :0 0
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
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 .
'stream o f c o n scio u s-
f '
n ess'
o r d e r o f e v e n ts .
Not o n ly do p la y e r s a t t h i s
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 .
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 ,
()
"
O ffs ta g e b r a s s p la y e r s
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
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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
*'
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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
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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 .
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-
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EXAMPLE I I I :
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d iv id u a l m ovem ents.
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.
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
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80
If
4.
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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
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V*
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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 -
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*
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 .
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81
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 .
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82
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
.
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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.
A ty p e o f 'f o o l e d '
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 *
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84
Each o f th e fo u r
A d d itio n a l r e i t e r a t i o n s o f
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
th e r e i t e r a t i o n ,
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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.
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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
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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
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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 )
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
_/
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
o
1
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..... ........................
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40.
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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
W ithin t h i s tim e sp an , i t i s p o s s ib le
(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.
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 .
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89
th e slow
As m entioned i n th e second c h a p te r ,
*
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 ,
p r o c e s s io n a l.
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90
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 ,
fo llo w in g t h i s i s
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
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p ia n is ts .
o f Tim e' p r e s e n ts
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
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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
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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
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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
n o th in g .
-.
f
t
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The g e n e r a l l i n e o f development w hich E choes of Time and
,
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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 .
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
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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 .
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.
C e rta in
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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
frag m e n t ' l o s a rc o s
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
im p lie d in h is t i t l e
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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.
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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
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
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
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'9 5
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 .
j>
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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.
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
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 .^
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
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f*
97
O-
be seen theft th e p e r c u s s i o n i s t s
cm
The
A d e ta ile d
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be made o f th e
cm
o f th e
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98
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
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
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.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
.>
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
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
The v e ry
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
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in
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.
It
45.
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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
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.
from o f f s t a g e during,, th e
c o u rs e o f th e m u sic .
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.
(
1
\
1
I
X
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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
The work p r o g r e s s e s a s a
As th e work p r o g r e s s e s , one i s
The p e r c u s s i o n i s t le a v e s
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103
The v i o l i n
|i
il
In
47.
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104
Dream Sequence
use
The u n d e rly in g
out b ecau se th e in d iv id u a l c y c le s a r e
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
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 ) ,
I t p ro g re s s e 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
'L u x A eterna*
1 -7
8-1 3
(7)
(6)
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 )
1 4 -21
42-48
D u r a tio n
num ber o f
b a rs
109-112
(4)
16
1 '1 3 "
11"
15"
105
106
As m entioned in th e p re v io u s c h a p te r , 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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
107
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
e la p s e
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
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
In th e l a s t th re e o f th e 'Lux
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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
109
'(
'
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
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
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
Like th e r e t u r n o f th e 'c r i s t a l i n e
of th e m usic.
v
Music f o r a Summer Evening (Makrokosmos I I I )
f o r two
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:
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 '
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 '.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
112
in t h i s w ork, a s in th e c o n clu d in g
th e m a tic m a te r ia l
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
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
a s an exam ple o f t h i s p a r t i c u l a r se n se
^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.
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:
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
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 .
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
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 '
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
The r e s o l u t i o n
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#)
^
Y
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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
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
( '
R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w itho ut perm ission.
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 .
s u c c e s s io n
. of s h o rte r
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
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
(
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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 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 s ta n c e s o f t h i s abound i n Echoes
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
(
'
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
(.
<
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 .
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 .
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 .
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
(
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
[
I t is in te re s t
If
m usic:
5
\
(
I
j
|
Moons) .
.
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
120
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
Even in
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
121
A
CHAPTER IV:
SU
M
M
A
R
Y AND PERSPECTIVE
In the dis
M
uch of
awareness and
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
122-
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
(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
I t was h o te d g e n e r a lly
l i s t e n e r tim e to g ra s p th e
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 .
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
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 /
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
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
The g e n e ra 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.
In th e seco n d c h a p te r ,
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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
,
^
125
in d iv id u a l w orks.
a
As
The c l a r i t y
D esp ite
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 .
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,
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 .
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127
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
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
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128
of
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
Much o f th e
&
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
123
'i/
>
Among th e s e
Summer E vening.
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
o f th e work.
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48.
49.
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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
(
A n o th e r
See f o o tn o te 14 o f c h a p te r o n e .
s
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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
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 .
51.
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133
R e ic h 's
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
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.
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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 ."
53.
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(')
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135
The a p p ro ach ta k e 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
e s th e tic e f f e c t.
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
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( 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
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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
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
#
137
(?,
'
BIBLIOGRAPHY
154- 519:-----
-----------------
Cobb, C a r l. F e d e ric o G a rc ia L o rc a .
P u b l i s h e r s , 1967.
New Y ork:
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Temps e t M usique.
J o u r n a l of M usic T h eo ry ,
P a ris :
F r a i s s e , P a u l. The P sy ch o lo g y o f T im e. T r a n s la te d by J e n n i f e r
L e i th . London: Eyre and S p o ttisw o o d e , 1964.
. F r a s e r , J .T . e d . The V oices oi; Time.
B r a z i l l e r , 1966.
New York:
George
F r a n k e n s te in , A lf r e d .
"George Crumb: E choes o f Time and
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M ass. : Wyeth P r e s s , 1972.
H a ll-L e w is , R o b e rt.
"George Crumb" N ig h t Music X,"
P e r s p e c tiv e s o f New M u sic. I I ( F a l l W in te r, 19 6 3 ),
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
138
A th eo ry o f A r t , New Yofk:
John
New York:
d ie
C hicago:
C hicago:
M usical
U n iv e rs ity o f
B a ltim o re ,
K ent,
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139
R e ic h , S te v e .
H a l if a x , N .S .:
P re s s
1974 .
R eynolds, R oger.
Mind M odels.
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P h ilo s o p h ic a l
V
de S e l i n c o u r t , B a s i l .
"Music and D u r a tio n ," in R e f le c tio n s
on A r t . e d i t e d by Susanne K. L a n g e r. New York: John
H opkins P r e s s , 1958.
S m ith e rs, Howard,, E .
C en tu ry M u sic ,"
54-88.
"Movement," d ie R e ih e , I I
(1 9 5 6 ), 61-63.
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
____ _
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
~~
Ja n de
Columbia
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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:
C .F . P e te r s
c.
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
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 .
R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w itho ut perm ission.