Download The Choral Music of Twentieth-Century Women Composers: by Catherine Roma PDF
By Catherine Roma
This booklet brings to gentle the choral works of 3 modern British girls composers: Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994), and Thea Musgrave (1928- ). incomes stable reputations in Britain via their various compositional kinds, their track has published them to be mammoth, prolific composers who're consultant of significant tendencies in twentieth-century British choral composition. Lutyens, usually defined as a musical pioneer, encompasses a hugely own and innovative kind in her use of twelve-tone procedure, and her departures from the stern perform of serial writing are continually hugely own and ingenious. Maconchy describes her personal approach as 'impassioned argument,' utilizing compositional instruments comparable to contrapuntal textures in either her instrumental and choral works, leading to a excessive measure of chromatic colour. Musgrave encompasses many modes of expression, from her early choral works that includes tonal diatonic writing, to a loose chromatic variety with obscure tonality now and then. entire with old point of view, musical examples, and reproductions of choral texts, this source of significant and little recognized modern choral works demonstrates the varied methods utilized by those and different modern composers, and contributes to the growing to be literature on girls in song.
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From the Preface :
This booklet illustrates a set of tune manuscripts which was once made in recent times to profit the root for modern functionality Arts. the gathering was resolute through situations instead of any strategy of choice. hence it exhibits the various instructions during which song notation is now going. The manuscripts are usually not prepared in response to different types of song, yet alphabetically in line with the composer's identify. No explanatory details is given.
The textual content for the ebook is the results of a strategy utilising I-Ching probability operations. those decided what percentage phrases relating to his paintings have been to be written by way of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this ebook, they're preceded by way of a paragraph signal and by way of the author's identify. different comments have been selected or written via the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided accidentally operations. This technique used to be with a purpose to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor proper to it. ) A precedent for the absence of data which characterizes this ebook is the modern aquarium (no longer a dismal hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the numerous composers and song publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Additional info for The Choral Music of Twentieth-Century Women Composers: Elisabeth Lutyens, Elizabeth Maconchy and Thea Musgrave
Sample text
1 shows how Lutyens uses the integer model of pitch in the opening fifteen measures. 7. Motet, mm. 11-13. 1. Motet, mm. 1-15, using an integer model of pitch. 5 A 5 9 8 r I 2 4- 6 " 10 CJ 0 5 10 " I. IS Both hexachords, A and B, when put in normal order, spell (0, 1,4,5,8,9). This hexachord is all-combinatorial, described as Level 3 in Rahn (see Note 20) and as such exhibits some interesting properties. First, the complement (2,3,6, 7, 10, 11), when transposed up a whole step (T2), equals (4,5,8,9,0, 1) or (0, 1,4, 5,8,9).
Motet, m. 47. f\ ~ tIP Soprano oJ ein f\ de, Bild pp Welt. t:'I Alto ",. ~ ein f\ de, Bild pp Welt. t:'I Tenor ~ ein dc, Bild pp Welt. t:'I Bass I ein dc, Bild Welt. Das In mm. 10), Lutyens switches two notes in the alto and tenor voices, a Stimmtausch-like effect, probably to achieve the sound she desired rather than the sonority resulting from the established order she has created. Sometimes "wrong notes" can occur because Lutyens juxtaposes a linear pitch and a vertical stacking of pitches and has to make a decision to comply with the dictates of the chord.
Renaissance composers also paid attention to the way words were setsuccessive phrases of text were often set to overlapping points of imitation. In addition, especially with Josquin, the humanistic spirit was reflected in the careful choice of texts. Whereas Lutyens' motet most definitely uses twelve-tone aggregates, combinations, and serial techniques, it is not dodecaphonic in the classical sense of the word. 20 Lutyens derives the whole piece from two trichords (0, 1,4) and (0, 3, 4),2l In analyzing this work using the integer model of pitch, each chromatic pitch class is labeled with an ascending integer.