Lots going on here tonight. How to begin to reflect on the colossal scope of this chapter? So much is lumped together but I should talk about Rzewski because I was only familiar with his piece for 8th Blackbird, Pocket Symphony.
Wow. I just spent the past hour listening to Rzewski's People United and am so glad I did, especially with the score available.
What an amazing piece. There is something here for everyone! I love the unified narrative structure that unfolds through various different idioms, jazz, atonal fragments, minimal, Romanticism. He is so creative, developing ideas satisfactorily then moving on at the perfect time, giving each variation a sense of closure within a larger hierarchical structure. The form makes total sense, and I feel various degrees of fulfillment as the work unfolds. I was skeptical during the very Les Mis-like theme (harmonies are like the standard All The Things You Are), but just as in Beethoven, the more comprehensible and memorable the theme, the greater flexibility afforded.
There is lots of Paganini and Rachmaninov in the Romantic virtuosity, but that helps make this work seem really accessible to a large concert-going public. Especially the piano recital crowd who does not expect to hear anything written after 1890. Given its length, this would require incredible stamina of the performer.
There is so much interesting music in this work! Dazzling colors, cool effects, driving rhythms that appeal on a physical level. Staggering beauty, savage brutality.
Maybe I just like it because it's simple enough for me to understand.
Interestingly, Rzewski seems to have uploaded many of his own scores to IMSLP. He has a piece, Satyrica, for jazz combo and band, but I can not find any information on it beyond a decent recording [here]. This work is over an hour and seems less interesting although I did not get all the way through.
I wonder, does a composer make his work stronger by including a political agenda? Or does this weaken the music, or distract from its power?
The Gann text is suddenly conversational, blatantly presenting his opinions along with bad jokes.
I think the entire New Romanticism term is more problematic than even minimalism was. I think what Gann really means is Music That More People Like to Listen To era.
Wednesday, March 28, 2012
Tuesday, March 27, 2012
Glass and Monk
I have long enjoyed Glass' music but am struggling right now with Einstein on a conceptual level. How is it drama if there is no drama? How is there poignant and meaningful marriage of the text and drama if there is nothing really happening on stage? Does a bed rising over 20 minutes or some spaceship landing count as plot?
I've been long acquainted with the peculiarities of Einstein's music and form, but getting to know Akhnaten was a real joy. Glass has clearly progressed quite a ways from Einstein in terms of expression (dare I say it?) and this music connects with me. Perhaps this relates to the subject matter at hand, a more traditional operatic concept. Glass' ability to totally transform his communicative style really speaks to his compositional skill. Moreover, there is text in the vernacular. The music is really Romantic and accessible, at times seeming to channel Purcell and others of the baroque. The absence of violins makes the affair darker and more ominous.
The Act II Scene 4 hymn is especially Romantic, adopting the clear architecture of a classical aria in stretched out form. The music is lush throughout and Glass builds a melodic structure in the accompaniment by stringing together well-used scalar gestures.
To me, the most powerful music is at the beginning: Scene 1: Funeral of Akhnaten's father Amenhotep III. Of course multitasking while listening, this entire track demanded my full attention. Rhythmically propulsive from its beginning, this music varies rhythmically or melodically just quickly enough to keep me interested. Again, Glass has definitely softened his aesthetic from the uncompromising adventure of Einstein, but absolutely progressed toward a higher and more refined art. Its form is so clear and feels natural and satisfying, and I feel rewarded at being able to see the composer's trajectory as the work progresses. Glass' orchestrations are wonderful and creative, always shifting color just when it is needed. On more listening, I feel more of Barber's neo-Romanticism permeating this work than Cagean conceptualism...
Monk's Atlas is much more natural and earthy than Glass and Reich. Her voice is smooth and beautiful, and the music has a certain softness of smooth velvet. Other Worlds Revealed seems to create a new klangfarbenmelodie of explosive consonants ringing around the room. Her work is certainly creative.
I've been long acquainted with the peculiarities of Einstein's music and form, but getting to know Akhnaten was a real joy. Glass has clearly progressed quite a ways from Einstein in terms of expression (dare I say it?) and this music connects with me. Perhaps this relates to the subject matter at hand, a more traditional operatic concept. Glass' ability to totally transform his communicative style really speaks to his compositional skill. Moreover, there is text in the vernacular. The music is really Romantic and accessible, at times seeming to channel Purcell and others of the baroque. The absence of violins makes the affair darker and more ominous.
The Act II Scene 4 hymn is especially Romantic, adopting the clear architecture of a classical aria in stretched out form. The music is lush throughout and Glass builds a melodic structure in the accompaniment by stringing together well-used scalar gestures.
To me, the most powerful music is at the beginning: Scene 1: Funeral of Akhnaten's father Amenhotep III. Of course multitasking while listening, this entire track demanded my full attention. Rhythmically propulsive from its beginning, this music varies rhythmically or melodically just quickly enough to keep me interested. Again, Glass has definitely softened his aesthetic from the uncompromising adventure of Einstein, but absolutely progressed toward a higher and more refined art. Its form is so clear and feels natural and satisfying, and I feel rewarded at being able to see the composer's trajectory as the work progresses. Glass' orchestrations are wonderful and creative, always shifting color just when it is needed. On more listening, I feel more of Barber's neo-Romanticism permeating this work than Cagean conceptualism...
Monk's Atlas is much more natural and earthy than Glass and Reich. Her voice is smooth and beautiful, and the music has a certain softness of smooth velvet. Other Worlds Revealed seems to create a new klangfarbenmelodie of explosive consonants ringing around the room. Her work is certainly creative.
Wednesday, March 21, 2012
Minimalism!
What a relief! Finally.
"content suggests form"
"complete control." Boulez and Babbit!
accepted results of processes, like Cage. But I think his point that Cage's processes can't be heard by the listener. I would also add that Cage was likely not thinking of what the result would sound like, while Reich clearly is. This surely has some influence on the accessibility of Reich's music. Process and the resultant music are one artistic being, the result being that Reich's music would probably be considered more musical.
Reich's music connects with me in part because he is considering the psychological and emotive byproducts of his composition. Cage, like Babbit, seems to display a cold indifference to how the sounds make someone feel.
Emotive content is also remarkable given the rigidity of its construction.
Piano Phase was a work that I never had much interest in. However, my recent survey of progressive American music gave it a new context and I now find the slow process really fascinating.
Reich's later music (and Glass's) has always captivated me. Something about the clean lines and objective clarity always always appealed to me aesthetically in a way that decadent late Romanticism has not. Perhaps these characteristics are just more in line with my personality, not often volatile and given to excess turbulence.
The most remarkable part of Eight Lines, a piece I have loved for some time, is its clear form. I don't know if chance operations were part of its construction, but every part, beginning, middle, and end, has a special emotional character whose non-narrative progression seems so perfectly natural and right. I think Gann hits on the power of Reich's music as physical, involving the body with regular rhythmic motion that is very appealing. Young's work is fine, but it doesn't appeal to me in a physical way where I feel involved, like Reich.
Very memorably, I went with a few friends this fall to hear the Syracuse contemporary music ensemble perform Music for 18 Musicians, long one of my favorites. Of course, I had never experienced a live performance, and I was excited for the opportunity.
It was a really interesting experience, both personally, and observing the audience. The work is 56 minutes. There was a good sized audience at the downtown art museum of diverse age representation. Surely, everyone there had some idea what they were in for, but their response was telling nonetheless. The music began, and after about thirty minutes, coughs and excessive chair shifting exposed a noticable frustration, but by the last twenty minutes, the composition's arc seemed to take its designed effect and people were lulled into a mesmerized trance. Although the audience was not visibly asleep, the music was undeniably powerful, allowing each listener to experience a wide variety of emotive states.
"content suggests form"
"complete control." Boulez and Babbit!
accepted results of processes, like Cage. But I think his point that Cage's processes can't be heard by the listener. I would also add that Cage was likely not thinking of what the result would sound like, while Reich clearly is. This surely has some influence on the accessibility of Reich's music. Process and the resultant music are one artistic being, the result being that Reich's music would probably be considered more musical.
Reich's music connects with me in part because he is considering the psychological and emotive byproducts of his composition. Cage, like Babbit, seems to display a cold indifference to how the sounds make someone feel.
Emotive content is also remarkable given the rigidity of its construction.
Piano Phase was a work that I never had much interest in. However, my recent survey of progressive American music gave it a new context and I now find the slow process really fascinating.
Reich's later music (and Glass's) has always captivated me. Something about the clean lines and objective clarity always always appealed to me aesthetically in a way that decadent late Romanticism has not. Perhaps these characteristics are just more in line with my personality, not often volatile and given to excess turbulence.
The most remarkable part of Eight Lines, a piece I have loved for some time, is its clear form. I don't know if chance operations were part of its construction, but every part, beginning, middle, and end, has a special emotional character whose non-narrative progression seems so perfectly natural and right. I think Gann hits on the power of Reich's music as physical, involving the body with regular rhythmic motion that is very appealing. Young's work is fine, but it doesn't appeal to me in a physical way where I feel involved, like Reich.
Very memorably, I went with a few friends this fall to hear the Syracuse contemporary music ensemble perform Music for 18 Musicians, long one of my favorites. Of course, I had never experienced a live performance, and I was excited for the opportunity.
It was a really interesting experience, both personally, and observing the audience. The work is 56 minutes. There was a good sized audience at the downtown art museum of diverse age representation. Surely, everyone there had some idea what they were in for, but their response was telling nonetheless. The music began, and after about thirty minutes, coughs and excessive chair shifting exposed a noticable frustration, but by the last twenty minutes, the composition's arc seemed to take its designed effect and people were lulled into a mesmerized trance. Although the audience was not visibly asleep, the music was undeniably powerful, allowing each listener to experience a wide variety of emotive states.
Monday, March 19, 2012
Death by Cello
This author is making his paper much less accessible to me by using so many huge and either invented or complicated words. He very frustratingly explains parts of theory at length in academic speak, and then restates it in more plain vocabulary.
Why would Cage lend so much assistance in a performance if he detested Moorman's procedure? That photograph was 1963, I guess before he had become estranged artistically from Moorman. But since they had a working relationship, could Cage not convince her of his aesthetic wishes?
Cage seemed to be trying to escape cultural connections, yet Moorman linked Cage's work with political and social controversy. But Moorman's incorporation of recorded people and natural sounds seems to be in line with Cage's sonic explorations. Indeed, Moorman is becoming more creative in 1965. Human cello. Far more theatrical than Cage would have approved of. Cage also would never have incorporated recordings of jazz and pop.
Why should performances always be the same? Should not our performance evolve as we live with a work and grow aesthetically? Unfortunately, Moorman is deviating from the composer's wishes. Why is this such a problem? She has lived with the work much more than Cage, and if Cage is so dependent on the performer to realize his somewhat indeterminate work, why should the artist not have more of a say in its execution? Moorman relished the opportunity to engage more creatively with Cage's work.
I find it interesting that Moorman and Paik cannot escape the political strain of the 1960s and incorporate war association and violence to either deal with the stresses or make some political statement. Cage is criticized for his distance from the divisive political issues of the day, but Moorman and Paik were forcing him into a dialogue with society.
I just have to wonder, Why the absurdity? Just to enjoy the spectacle of scandal? On the Opera sextronique and "taboo-breaking art." Is this the next step in a natural progression of composers who sought to break boundaries? Were Gesualdo, Beethoven, and Stravinsky trying to be deliberately provocative? More likely, the scandal of their work was the result of the music's shock, and not shock just for shock's value. But in breaking rules of artistic convention, Moorman seems in line with the arc of composers to this point. While Cage's explorations are mostly sonic, Moorman is transforming the piece by seeking to violate the audience.
The Moorman/Paik production is much more culturally relevant than Cage's work. Interesting that as her performances became more flamboyant, said every work is a collaboration between her and the composer, a fact which many composers do not seem to acknowledge.
As Cage redefined the performer's physical relationship to the cello, Moorman just extended the concept, in dialogue with her political sympathies.
Interesting point that nudity had always been accepted art, so why can't she play her cello nude? This boundary certainly has broken down since the 60s.
Responding to the music, I think Chromatic Canon is the most interesting. I like the process moving from consonant to dissonant and back to consonant, and Tenney has designed each repeated cell to have a slightly different feel and sound; the addition of a single new tone has a major effect, and their progression is transfixing. Also remarkable is the way the final harmony of F# slowly emerges from the din; there is an amazing sense of release when it becomes obvious that this is the point of arrival.
Otherwise I am having some trouble with the experimentalist movement. I'm not getting into the spirit of shocking audiences beyond their wildest expectations of what music or art should be, nor the absurd conceptualism. Perhaps I am having trouble letting go of my narrative structures and am too impatient to enjoy some of these works; or perhaps these works just go beyond my interest.
Why would Cage lend so much assistance in a performance if he detested Moorman's procedure? That photograph was 1963, I guess before he had become estranged artistically from Moorman. But since they had a working relationship, could Cage not convince her of his aesthetic wishes?
Cage seemed to be trying to escape cultural connections, yet Moorman linked Cage's work with political and social controversy. But Moorman's incorporation of recorded people and natural sounds seems to be in line with Cage's sonic explorations. Indeed, Moorman is becoming more creative in 1965. Human cello. Far more theatrical than Cage would have approved of. Cage also would never have incorporated recordings of jazz and pop.
Why should performances always be the same? Should not our performance evolve as we live with a work and grow aesthetically? Unfortunately, Moorman is deviating from the composer's wishes. Why is this such a problem? She has lived with the work much more than Cage, and if Cage is so dependent on the performer to realize his somewhat indeterminate work, why should the artist not have more of a say in its execution? Moorman relished the opportunity to engage more creatively with Cage's work.
I find it interesting that Moorman and Paik cannot escape the political strain of the 1960s and incorporate war association and violence to either deal with the stresses or make some political statement. Cage is criticized for his distance from the divisive political issues of the day, but Moorman and Paik were forcing him into a dialogue with society.
I just have to wonder, Why the absurdity? Just to enjoy the spectacle of scandal? On the Opera sextronique and "taboo-breaking art." Is this the next step in a natural progression of composers who sought to break boundaries? Were Gesualdo, Beethoven, and Stravinsky trying to be deliberately provocative? More likely, the scandal of their work was the result of the music's shock, and not shock just for shock's value. But in breaking rules of artistic convention, Moorman seems in line with the arc of composers to this point. While Cage's explorations are mostly sonic, Moorman is transforming the piece by seeking to violate the audience.
The Moorman/Paik production is much more culturally relevant than Cage's work. Interesting that as her performances became more flamboyant, said every work is a collaboration between her and the composer, a fact which many composers do not seem to acknowledge.
As Cage redefined the performer's physical relationship to the cello, Moorman just extended the concept, in dialogue with her political sympathies.
Interesting point that nudity had always been accepted art, so why can't she play her cello nude? This boundary certainly has broken down since the 60s.
Responding to the music, I think Chromatic Canon is the most interesting. I like the process moving from consonant to dissonant and back to consonant, and Tenney has designed each repeated cell to have a slightly different feel and sound; the addition of a single new tone has a major effect, and their progression is transfixing. Also remarkable is the way the final harmony of F# slowly emerges from the din; there is an amazing sense of release when it becomes obvious that this is the point of arrival.
Otherwise I am having some trouble with the experimentalist movement. I'm not getting into the spirit of shocking audiences beyond their wildest expectations of what music or art should be, nor the absurd conceptualism. Perhaps I am having trouble letting go of my narrative structures and am too impatient to enjoy some of these works; or perhaps these works just go beyond my interest.
Wednesday, March 7, 2012
HPSCHD - moving toward a world without conductors
Virgil Thomson wrote that Cage, unlike Wagner, emphasized show business. I would counter that Wagner also deployed show business with his lavish designs and self-promotion of a cult-like following, all of which is good for sales. I believe Thomson mislabels Cage's intent as "production of ecstasy." While this is surely Wagner's goal, it seems Cage would have eschewed such a heightened emotional state.
My question of the Brechtian separation of media is how do they form a cohesive whole if they were conceived totally independently? I guess this situation could function as a collage does functions as a work of art. Perhaps the very frame of my question refutes Copeland's claim that the Wagnerian model of integration is not dominant today.
Art to prepare way for utopia. Makes sense that the American view of anarchy would downplay the socialist aspect in favor of individualism.
Cage engages in the age-old discussion of faith in technology. Has life improved since the Industrial Revolution? His optimistic faith had a large part in shaping his politics and aesthetic.
I feel totally inept to write on HPSCHD without experiencing the work firsthand. Apparently the work was performed at the Concertgebouw in Bruges in 2010, a performance for which they specifically asked the audience to keep their cell phones on. Unfortunately, I can not find any reviews about how the work was received by current audiences.
The biggest challenge for me to understand and enjoy Cage's work (and others' in this vein) is escaping the need to assign value judgements, locate a narrative, and decipher what the composer is trying to communicate.
Wagner Cage
show business show business and promotion
hypnotize, fog senses critical distance
media synthesis individuality and independence
Audience Private, uniform, personal individual, self-determined, shared with others
experience isolated, intoxicated dulling of senses community, perception and response
response unified diverse
content determined, fixed, structure free, participatory
exclusive inclusive
composer control, emotive offering, helpful, providing materials for use
narrative, goal-oriented non-narrative
"shared spiritual bath"
politics racist baggage Silence on race (baggage?)
technology technology
synthesis of media "Global village" bridging cultures
culmination of high modern continuation of high modern
elitism, walled off from society elitism, walled off from society (less so)
view of art as preparing social change view of art as preparing social change
My question of the Brechtian separation of media is how do they form a cohesive whole if they were conceived totally independently? I guess this situation could function as a collage does functions as a work of art. Perhaps the very frame of my question refutes Copeland's claim that the Wagnerian model of integration is not dominant today.
Art to prepare way for utopia. Makes sense that the American view of anarchy would downplay the socialist aspect in favor of individualism.
Cage engages in the age-old discussion of faith in technology. Has life improved since the Industrial Revolution? His optimistic faith had a large part in shaping his politics and aesthetic.
The biggest challenge for me to understand and enjoy Cage's work (and others' in this vein) is escaping the need to assign value judgements, locate a narrative, and decipher what the composer is trying to communicate.
Wagner Cage
show business show business and promotion
hypnotize, fog senses critical distance
media synthesis individuality and independence
Audience Private, uniform, personal individual, self-determined, shared with others
experience isolated, intoxicated dulling of senses community, perception and response
response unified diverse
content determined, fixed, structure free, participatory
exclusive inclusive
composer control, emotive offering, helpful, providing materials for use
narrative, goal-oriented non-narrative
"shared spiritual bath"
politics racist baggage Silence on race (baggage?)
technology technology
synthesis of media "Global village" bridging cultures
culmination of high modern continuation of high modern
elitism, walled off from society elitism, walled off from society (less so)
view of art as preparing social change view of art as preparing social change
Monday, March 5, 2012
Oboe adventure
I know we were supposed to blog tonight about our notational system, but I was not going to start composing or designing anything remotely artistic until I had an instrument to write for.
I have decided to pursue a reed aerophone made of repurposed straws. I did not have an used ones on hand, but they could be easily washed and reused, especially as the reed which is short.
The most difficult part of making the instrument was creating a reed that would produce a stable, consistent, and resonant sound without slipping into overtones. The plastic is pretty temperamental and the triangular table must be cut exactly right. Determining the amount of plastic and the angle of the cut was an issue. You can see the cut which I found to be best.
The best reed produced a loud, high, and steady crow. Of course, learning to produce a good sound once I had a decent reed was another obstacle. I had to address proper air control, form a proper embouchure. After 90 minutes of playing my instrument, I understand the plight of oboists! Additionally, I am learning how to work on and maintain my reeds by systematically opening and closing it to produce the best sound.
I made a family of reeds, and each has its own properties.
Next came cutting straw lengths to form the body of the instrument.
Lengths can be combined by slitting the end and inserting it into the next one. Above is a lead pipe of two six-inch straws.
The last step in making my instrument was the tone-whole region. First I made two identically-tuned lengths. While one served as my permanent instrument, I progressively cut pieces off the second, tuned it, and marked the length on the first to note where I should cut tone wholes. After I had a whole octave marked, I cut the whole with a hole-punch. Unfortunately, several wholes were too close together for my fingers to completely cover, so I was forced to more creatively consider their placement. Additionally, I need to apply significant pressure to cover the tone wholes and balance was an issue with a flimsy plastic.
After some careful thought, I cut a new length shown above with several wholes on the bottom. While I can now cover every whole, I can also balance fingers above to securely hold the instrument.
The final issues now for me to master are reed control and fingering. The reed is still unstable and, depending on placement, embouchure pressure, and air speed, I can manipulate the pitch almost a major sixth. This is probably caused by cheap materials! The most stable pitch is usually almost the highest possible. Fingering is an issue, not just for pitch, but for physical stability. The tube likes to roll and bend due to the pressure I apply to cover the wholes, so I have been inventing creative fingerings to maintain stability.
Its range, when producing its fullest sound, is an octave, comprising a poorly-tuned major scale. Alternate fingerings can produce additional tones.
Here is the whole complete instrument:
I can insert and number of lead pipes to increase the length. The shortest instrument is the most reliable, but longer lengths produce a warmer, less obnoxious tone. I might make a consort of straw oboes!!
With its excellent projection, my instrument will be ideal for outdoor performance.
I have decided to pursue a reed aerophone made of repurposed straws. I did not have an used ones on hand, but they could be easily washed and reused, especially as the reed which is short.
The most difficult part of making the instrument was creating a reed that would produce a stable, consistent, and resonant sound without slipping into overtones. The plastic is pretty temperamental and the triangular table must be cut exactly right. Determining the amount of plastic and the angle of the cut was an issue. You can see the cut which I found to be best.
Next came cutting straw lengths to form the body of the instrument.
The last step in making my instrument was the tone-whole region. First I made two identically-tuned lengths. While one served as my permanent instrument, I progressively cut pieces off the second, tuned it, and marked the length on the first to note where I should cut tone wholes. After I had a whole octave marked, I cut the whole with a hole-punch. Unfortunately, several wholes were too close together for my fingers to completely cover, so I was forced to more creatively consider their placement. Additionally, I need to apply significant pressure to cover the tone wholes and balance was an issue with a flimsy plastic.
After some careful thought, I cut a new length shown above with several wholes on the bottom. While I can now cover every whole, I can also balance fingers above to securely hold the instrument.
The final issues now for me to master are reed control and fingering. The reed is still unstable and, depending on placement, embouchure pressure, and air speed, I can manipulate the pitch almost a major sixth. This is probably caused by cheap materials! The most stable pitch is usually almost the highest possible. Fingering is an issue, not just for pitch, but for physical stability. The tube likes to roll and bend due to the pressure I apply to cover the wholes, so I have been inventing creative fingerings to maintain stability.
Its range, when producing its fullest sound, is an octave, comprising a poorly-tuned major scale. Alternate fingerings can produce additional tones.
Here is the whole complete instrument:
With its excellent projection, my instrument will be ideal for outdoor performance.
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