Download The Musical Language of the Twentieth Century by Elliott Antokoletz PDF
By Elliott Antokoletz
This ebook presents not just an figuring out and appreciation of Georg von Albrecht's musical paintings, but additionally hyperlinks his compositional method of a broader old and theoretical context. the importance of the examine lies within the discovery of a lacking ancient hyperlink within the evolution of ideas that variety from the pentatonic formations and modalities of folks song and polymodal mix to the extra summary realm of serial approaches. those ideas frequently spread in contexts in keeping with advanced metric/rhythmic formulizations. Albrecht, whose folkloristic actions and compositional tendencies invoke the artistic spirit of Bela Bartok, is an exemplar of a composer who has synthesized conventional and modern parts from either japanese and Western ecu assets. He used to be encouraged through many cultures, his song imbued with Byzantine and historical Greek parts, Hebrew folklore, and Gregorian components, in addition to the pentatonicism of japanese Asia. Russian and Lithuanian folklore underlies nearly all of his works. Albrecht's profound reflections on track in addition to the extraordinary variety of his compositional aesthetics and methods nonetheless give you the song historian with a brand new point of perception into a few crucial hyperlinks within the evolution of twentieth-century tune and inspiration.
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From the Preface :
This e-book illustrates a suite of tune manuscripts which was once made lately to learn the root for modern functionality Arts. the gathering was resolute by way of situations instead of any strategy of choice. therefore it exhibits the numerous instructions during which tune notation is now going. The manuscripts aren't prepared in keeping with types of tune, yet alphabetically in keeping with the composer's identify. No explanatory details is given.
The textual content for the publication is the results of a strategy using I-Ching likelihood operations. those made up our minds what percentage phrases concerning his paintings have been to be written via 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 publication, they're preceded through a paragraph signal and by way of the author's identify. different feedback have been selected or written through 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 by accident operations. This technique was once with a purpose to reduce the variation 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 appropriate to it. ) A precedent for the absence of knowledge which characterizes this ebook is the modern aquarium (no longer a gloomy hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment with the entire 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 booklet. 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 resources for The Musical Language of the Twentieth Century
Example text
The quintuplet figure is initiated by the augmented triad (D-F#-A#), which is reiterated throughout the passage. Pitchclass D, the tonality of the basic statement of this modal tune in Strain 1, also functions, as does an implied G#-G#, as its axis of symmetry (D-e-F#-g-a-Bb-cD). Throughout Episode 2, this augmented triad appears in all three of its harmonic positions (mm. 25-30). These permutations produce a rotating motion 37See ibid. 56 around the registrally stable (or invariant) axis tone, D, further establishing the symmetrical connection of this chord with the D-modal variant of Strain 1.
He himself occasionally wanted to see therein a symbol for the harmonious coexistence of different peoples and world views. Folk-Music Principles and Their Fusion with Overtone Sources in Albrecht's Compositional Process In Albrecht's C-major prélude, the basic overtone scale (C-D-E-F#-G-ABb-C) serves as the source for most of the melodic and harmonic fabric. Although its origin in the overtone series is indicated explicitly by the composer, its function as the basis for the stanzaic outline of the piece also reveals the composer's deep roots in the folk idiom in terms of both mode and structure.
13 The rich modal palette that characterizes much of Albrecht’s music can, like Bartók’s compositions, be traced to still more varied folk sources as well as the more abstract (overtone) series that supposedly served as the basis for Scriabin’s later harmonic system. Among the varied modal constructions that Albrecht had absorbed into his own compositions, which include both the folk and more abstract overtone sources, there are some striking similarities between the nondiatonic folk modes in his music and that of his contemporaries such as Bartók.