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 78-3667

LENTCZNER, Bennett, 1938-

GUIDELINES AND MODELS FOR SCORE PREPARATION
OF ATONAL BAND LITERATURE.

Ball State U niversity, D.A., 1977

Music

University Microfilms International, AnnArbor,Michigan4em

© 1977

BENNETT LENTCZNER

ALL RIGHTS RESERVED

PLEASE NOTE:

Musical examples throughout

d i s s e r t a t i o n a re ve ry poor
re p r o d u c t io n s . These w i l l
not reproduce w e ll in
x e r o g r a p h ic c o p ie s . Filmed
in th e b est p o s s ib le way.

UNIVERSITY MICROFILMS.
 G U ID E L IN E S A N D M O D E L S F O R S C O R E P R E P A R A T IO N

O F A T O N A L B A N D L IT E R A T U R E

A D IS S E R T A T IO N

S U B M I T T E D T O T H E G R A D U A T E E D U C A T IO N A L P O L IC IE S C O U N C IL

IN P A R T IA L F U L F I L L M E N T O F T H E R E Q U IR E M E N T S

f o r th e d e g re e

DOCTOR O F AR TS

by

B e n n e tt L e n tc z n e r

A p p ro v e d :

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B A L L S T A T E U N IV E R S IT Y

M U N C I E , IN D IA N A
 ABSTRACT

D u rin g th e p a s t tw o y e a r s (1 9 7 4 -7 6 ) the w r i t e r has becom e

in c r e a s in g ly a w a re o f th e need f o r a m ethod o f a s s is tin g c o n d u c to rs

w ith th e s c o re p re p a ra tio n o f "n e w " band l i t e r a t u r e . B ecause th is

l i t e r a t u r e o fte n r e p re s e n ts the m o d e rn c o m p o s e r's e ffo r ts to e x p lo re

n o n -tr a d itio n a l c o m p o s itio n a l te c h n iq u e s , the d e v e lo p m e n t o f a new

o r a t le a s t expanded a p p ro a c h to a n a ly s is , a im e d d ir e c t ly a t th e

c o n d u c to r's ta s k o f p re p a rin g a s c o r e fo r r e h e a r s a l (and p e r fo r m a n c e )

s e e m s to be in o r d e r .

M o s t re c e n t a p p ro a c h e s to a n a ly s is have been d e ve lo p e d by

th e o r is ts w hose m ic ro s c o p ic e x a m in a tio n o f m u s ic , s o m e tim e s

c o m p lic a te d w ith new te r m in o lo g y , does not n e c e s s a r ily a s s is t the

c o n d u c to r in h is e ffo r ts to fo r m u la te m u s ic a l in te r p r e t a t io n s . F u rth e r­

m o r e , th e e d u c a tio n o f m o s t c o n d u c to rs to d ay e m p h a s iz e s a backg ro u n d

h e a v y w ith m o r e tr a d itio n a l m u s ic a l c o n c e p ts . W ith th e s e tw o

p o in ts f i r m l y in m in d , the a u th o r has a tte m p te d to expand th e m o r e

t r a d itio n a l concepts o f h a r m o n y , m e lo d y , r h y th m , d y n a m ic s , t i m b r e ,

and te x tu r e , and s u b se q u e n tly in c o r p o r a te th e m in the d e v e lo p m e n t o f

an a n a ly tic a l m ethod th a t s p e c ific a lly s e r v e s the c o n d u c to r's ta s k o f

s c o r e p r e p a r a tio n as r e la te d to m o r e c o n te m p o ra ry band l i t e r a t u r e .
 E s s e n tia l to the p ro c e s s o f d e v e lo p in g th is a n a ly tic a l m ethod

w a s u n d e rs ta n d in g and d e fin in g th e goal o f the c o n d u c to r in the ta s k

o f s c o r e p r e p a r a tio n . T o th is e n d , the w r i t e r e x a m in e d the p u b lish e d

v ie w s o f s e v e r a l w e ll-k n o w n c o n d u c to rs . A ll o f th ese a u th o rs

s e e m e d in a g re e m e n t: in o r d e r to p re s e n t a m u s ic a l w o r k , the c o n d u c to r

m u s t h ave a b ro a d v ie w o f the w o rk so as to u n d e rs ta n d th e lo g ic o f

its p ro g r e s s io n , fro m b e g in n in g to e n d . S e e m in g ly th e n , s c o re

p r e p a r a tio n should s e r v e to u n c o v e r and en han ce th is b ro a d v ie w .

T h e w r i t e r 's a n a ly tic a l m e th o d a s s u m e d th is p u rp o s e : to a s s is t th e

c o n d u c to r in th e d is c o v e ry and d e v e lo p m e n t o f th is b ro a d v ie w . For

the p u rp o s e o f id e n tify in g th is g o a l, the w r i t e r d e ve lo p e d th e t e r m

" m a c r o - v ie w " .

In the c o u rs e o f d e v e lo p in g h is a n a ly tic a l a p p ro a c h , th e w r i t e r

has in tro d u c e d h is c o n cep t o f m e lo d ic r h y th m , a t e r m c o in ed to c o v e r

th e c o m p o s ite te m p o ra l ( l i n e a r ) e ffe c t caused by re la tio n s h ip s am ong

m u s ic a l e le m e n ts such a s m e lo d y , r h y th m , d y n a m ic s , t i m b r e , and

te x tu r e . It is f o r the e x p re s s e d p u rp o s e o f en h an cin g a c c e s s ib ility to

th e c o n cep t o f m o tio n and re p o s e in " a to n a l" band l i t e r a t u r e to those

w ho a r e s e e m in g ly m o r e f a m i l i a r w ith the c o n ce p t o f p h ra s e and

c ad en ce a s s o c ia te d w ith m o r e tr a d itio n a l m e lo d ie s th a t th e a u th o r has

chosen th e t e r m m e lo d ic r h y th m .

In the v ie w o f th is w r i t e r , the p r i m a r y c o n c e rn o f d e s c r ip tiv e

a n a ly s is is the d is c o v e ry o f m e lo d ic r h y th m (s ), a c c o m p lis h e d th ro u g h
a r e la t iv e ly m ic ro s c o p ic in v e s tig a tio n o f the s c o r e . T h e a u th o r

su gg ests th a t th e in fo rm a tio n u n c o v e re d in th is p ro c e s s be c o lle c te d

in a s y s te m a tic fa s h io n f o r l a t e r u s e . T o a s s is t in th is c o lle c tio n o f

in fo r m a tio n the a u th o r has d e velo p ed a " D e s c r ip tiv e A n a ly s is C h a r t " .

C h a p te rs I I I th ro u g h V I a r e d e m o n s tra tio n s o f the a u th o r's

a n a ly tic a l m e th o d and r e p r e s e n t a v a r ie t y o f a to n al band l i t e r a t u r e .

In c lu d e d w ith in th e s e c h a p te rs a r e G e o m e tr ie s N o . 4 by M a r t in

M a ilm a n , S tu d y in T e x t u r e s by G u n th e r S c h u lle r , S p e c tr u m by

H e r b e r t B ie la w a , S ta te m e n t by B r e n t H e is in g e r , and S ta r g a z in g

by D onald E r b . (C o m p o s e r c o m m e n ts on the a n a ly s is p re s e n te d a r e

in c lu d e d as A p p e n d ix C . )

T h e w r i t e r ' s a p p ro a c h to s c o re p r e p a ra tio n is founded on his

b e lie f th a t in h e r e n t in a l l m u s ic , re g a rd le s s o f s t y le , p e rio d , o r

m e d iu m , is the a p p e rc e p tio n o f m o tio n and re p o s e . F u rth e rm o re ,

i t is th ro u g h the a u d ito r y s e n s a tio n o f m o tio n and re p o s e th a t the

u n ity o f a p ie c e b e co m e s c o m p re h e n d a b le . Upon c o m p le tin g an

a n a ly s is a c c o rd in g to th e guide lin e s p re s e n te d in th is d is s e r ta tio n ,

the c o n d u c to r c an p ro c e e d w ith the p re s e n ta tio n o f a u n ifie d

p e r fo rm a n c e o f an " a to n a l" band w o r k .

 PREFACE

D u rin g the p a s t tw o y e a r s (1 9 7 4 -7 6 ) the w r i t e r h as b e co m e

in c re a s in g ly a w a re o f the need f o r a m ethod o f a s s is tin g c o n d u c to rs

w ith th e s c o re p r e p a r a tio n o f "n e w " band l i t e r a t u r e . B e c au s e th is

l i t e r a t u r e o ften re p r e s e n ts the m o d e rn c o m p o s e r's e ffo r ts to e x p lo re

n o n -tr a d itio n a l c o m p o s itio n a l te c h n iq u e s , a new o r a t le a s t expanded

a p p ro ac h to a n a ly s is , a im e d d ir e c t ly a t th e c o n d u c to r’ s ta s k o f p r e ­

p a rin g a s c o re f o r r e h e a r s a l (and p e r fo r m a n c e ), s e e m s to be in o r d e r .

M o s t re c e n t a p p ro a c h e s to a n a ly s is have been d e ve lo p e d by

th e o r is ts w hose m ic r o s c o p ic e x a m in a tio n o f m u s ic , s o m e tim e s

c o m p lic a te d w ith new te r m in o lo g y , does not n e c e s s a r ily a s s is t th e

c o n d u c to r in h is e ffo r ts to fo r m u la te m u s ic a l in t e r p r e t a t io n s . F u rth e r­

m o r e , th e e d u c a tio n o f m o s t c o n d u c to rs to d a y e m p h a s iz e s a b a ckground

h e a v y w ith m o r e tr a d itio n a l m u s ic a l c o n c e p ts . W ith th e s e tw o

p o in ts f i r m l y in m in d , the a u th o r has a tte m p te d to expand th e m o r e

tr a d itio n a l concepts o f h a r m o n y , m e lo d y , r h y th m , d y n a m ic s , t im b r e ,

and te x tu r e , and s u b s e q u e n tly in c o r p o r a te th e m in the d e v e lo p nent o f

an a n a ly tic a l m ethod th a t s p e c ific a lly s e r v e s the c o n d u c to r's ta s k o f

s c o re p re p a ra tio n as r e la te d to m o r e c o n te m p o r a r y band l i t e r a t u r e .

C h a p te rs I I I th ro u g h V I a r e d e m o n s tra tio n s o f th e a u th o r 's

a n a ly tic a l m e th o d . T h e w o rk s used as m o d e ls f o r th e s e c h a p te rs
r e p r e s e n t fo u r d iffe r e n t ty p e s o f c o m p o s itio n found in p r e s e n t-d a y band

lite r a tu r e . T h is d is s e r ta tio n has been w r it t e n w ith th e hope o f a s s is tin g

band c o n d u c to rs and te a c h e rs o f band c o n d u c to rs w ith s c o re p r e p a r a ­

tio n , th e re b y g e n e ra tin g g r e a t e r in te r e s t in c o n te m p o ra ry band l i t e r a ­

tu re .

T h e w r i t e r w is h e s to e x p re s s s in c e r e a p p re c ia tio n to D r . R o b e rt

H a r g r e a v e s f o r h is g u id a n ce and u n s e lfis h s h a rin g o f s c h o la r s h ip , to

D r . P e t e r J . Hodgson and D r . E r n e s to P . P e lle g r in i f o r s h a rin g t h e i r

u niqu e m u s ic a l in s ig h ts , and to D r . A d e la id e C o le and M r . E a r l Dunn

f o r t h e ir s u p p o rt and t im e . And to Joan and J u lie n n e , th a n k you f o r

lo v e and u n d e rs ta n d in g .
 TABLE O F CONTENTS

Page

P R E F A C E ............................................................................................................................

L IS T O F C H A R T S ...................................................................................................... v iii

L IS T O F F I G U R E S ...................................................................................................... ix

L IS T O F M U S IC A L E X A M P L E S ......................................................................... x

C h a p te r

I. I N T R O D U C T I O N ........................................................................................... 1

S y m p o s iu m f o r N e w Band M u s i c .............................................. 2

C o lle g e Band D ir e c t o r N a tio n a l A s s o c ia tio n M e e tin g . . 3

C onducting and Band L it e r a t u r e C la s s e s a t R a d fo rd

C o lle g e , V i r g i n i a ..................................................................... . 4

D E V E L O P IN G A N A P P R O A C H T O S C O R E
P R E P A R A T I O N ................................................................................... 6

P u b lis h e d V ie w s on S c o r e P r e p a r a t i o n ................................. 7

T h e C o n d u c to r's M a c r o - V i e w ...................................................... 9

D E F IN IT IO N O F T E R M S ................................................................... 10

G e n e ra l T e r m i n o l o g y ....................................................................... 11

M e lo d ic R h y t h m ................................................................................... 12

L I M I T A T I O N S ........................................................................................... 14

S E L E C T IO N O F T H E L IT E R A T U R E U S E D A S M O D E L S
F O R S C O R E P R E P A R A T I O N ...................................................... 15
Chapter Page

II. A N A L Y T I C A L P R O C E D U R E S : G U ID E L IN E S F O R
S C O R E P R E P A R A T I O N .............................................................. 17

D E S C R IP T IV E A N A L Y S IS ...................................................... 18

M a c r o - V i e w ................................................................................... 20

M e c h a n i c s ....................................................................................... 20

M e l o d i c - R h y t h m ..................................... 21

F a c to r s T h a t C o n trib u te to M e lo d ic R h y th m . . . . 28

D y n a m ic s ................................................................................... 29

T i m b r e ............................ 32

T e x tu re ....................................................................................... 35

H a r m o n ic I m p l i c a t i o n s .............................................................. 37

S Y N T H E S I S A N D C O N C L U S IO N .......................................... 39

III. G E O M E T R IC S N O . 4 , O P . 43 B Y M A R T IN M A IL M A N . 44

S Y N T H E S IS O F D E S C R IP T IV E A N A L Y S I S ..................... 45

M A C R O - V I E W ................................................................................... 92

IV . S T U D Y IN T E X T U R E S B Y G U N T H E R S C H U L L E R . . . 94

S Y N T H E S IS O F D E S C R IP T IV E A N A L Y S IS ................. 96

M A C R O - V I E W ................................................................................... 133

V. S P E C T R U M B Y H E R B E R T B IE L A W A .................................... 135

S Y N T H E S IS O F D E S C R IP T IV E A N A L Y S IS ................. 137

M A C R O - V I E W ................................................................................... 192

V I. IN T E R P R E T A T IO N O F A L E A T O R IC E V E N T S ............... 194

vi
Chapter Page

S T A T E M E N T B Y B R E N T H E I S I N G E R ...................................... 195
—
*

T H E S T A R S C O M E O U T F R O M S T A R G A Z IN G B Y
D O N A L D E R B ........................................................................................ 208

V II. SUMMARY ............................................................................... 2 20

A P P E N D IX E S

A. W O R K S S U B M I T T E D T O S T U D E N T S IN T H E B A N D
L IT E R A T U R E C L A S S A T R A D F O R D C O L L E G E ................. 225

B. G L O S S A R Y ................. 227

C. C O M P O S E R 'S C O M M E N T S A N D L E T T E R S .................................. 230

B I B L I O G R A P H Y ............................................................................................................ 235

v ii
 L IS T O F CHARTS

Chart Page

1. M e lo d ic R h yth m o f m e a s u re s 6 5 - 6 9 in S tu d y in
T e x t u r e s ................................................................................................ 24

2. M e lo d ic R h y th m o f m e a s u re s 1 8 -2 3 in S tu d y in
T e x t u r e s ................................................................................................ 28

3. D e s c r ip tiv e C h a r t o f P r is m s , m e a s u re s 1 - 6 ...................... 33

4. D e s c r ip tiv e C h a r t , S k e tc h e s on a T u d o r P s a lm ,
m e a s u re s 7 2 - 8 7 .................................................................................. 43

5. D e s c r ip tiv e C h a r t o f G e o m e trie s No» 4 .................................. 46

6. D e s c r ip tiv e C h a r t o f S tu d y in T e x t u r e s .................................. 101

7. D e s c r ip tiv e C h a r t o f S p e c t r u m ................................................... 143

8. D e s c r ip tiv e C h a r t o f S ta te m e n t, m e a s u re s 2 0 - 2 6 . . . 199

9. D e s c r ip tiv e C h a r t , T h e S t a r s C o m e O u t .............................. 2 16

v iii
 L IS T O F FIGURES

Figure Page

1. D e s c r ip tiv e A n a ly s is C h a r t .................................................. 19

2. D e s ce n d in g M e lo d ic L in e in m e a s u re s 1 -4 o f
P r i s m s ..................................... 33

3. G ra p h o f th e F o r m a l S t r u c t u r e in G e o m e trie s N o . 4 . 44

4. G e o m e tr ic S h ap e o f G e o m e tr ie s N o . 4 ......................... 92

5. M a c r o - V ie w o f S tu d y in T e x t u r e s ................................. 95

6. S y m b o ls Used in the D e s c r ip tiv e A n a ly s is C h a r t o f

S tu d y in T e x t u r e s ................................................................ 97

7. O v e rla p p in g o f C o n tra p u n ta l and S u s ta in e d T e x t u r e s in

m e a s u re s 2 3 - 7 6 o f S tu d y in T e x tu r e s ......................... 118

8. M a c r o - V ie w o f th e F o r m a l S t r u c t u r e in S p e c tr u m . . 137

9. S e r ia liz a t io n o f th e T w e lv e -to n e R o w used in

S p e c tru m ....................................................................................... 139

10. In d iv id u a l E n tra n c e s p e r m e a s u re in
T h e S t a r s C o m e O u t ............................................................ 209

ix
 L IS T O F M USICAL EXAM PLES

Example Page

1. G u n th e r S c h u lle r , S tu d y in T e x t u r e s , m e a s u re s
6 1 - 6 9 ....................................................................................................... 22

2. G u n th e r S c h u lle r , S tu d y in T e x t u r e s , m e a s u re s
1 7 - 2 4 ....................................................................................................... 26

3. M o rto n G o u ld , P r is m s , 5 th m o v e m e n t, m e a s u re s
1 - 7 ............................................................................................................ 30

4. M o r to n G o u ld , P r is m s , 1 s t m o v e m e n t, m e a s u re s
2 7 - 3 0 ....................................................................................................... 34

5 . M a r t in M a ilm a n , G e o m e trie s N o . 4 , m e a s u re s 6 - 8 . . 36

6. F is h e r T u l l , S k e tc h e s on a T u d o r P s a lm , m e a s u re s
7 2 - 8 7 ....................................................................................................... 41

7. M a r t in M a ilm a n , G e o m e trie s N o . 4 , m e a s u re s 1 -21 . . 55

8. M a r t in M a ilm a n , G e o m e trie s N o . 4 , m e a s u re s 2 2 - 3 9 . 62

9. M a r t in M a ilm a n , G e o m e trie s N o . 4 , m e a s u re s 3 5 - 6 0 . 68

10. M a r t in M a ilm a n , G e o m e trie s N o . 4 , m e a s u re s 5 7 -1 0 0 . 75

11. M a r t in M a ilm a n , G e o m e trie s N o . 4 , m e a s u re s

1 01 -1 2 0 88

1 2 . G u n th e r S c h u lle r , S tu d y in T e x t u r e s , m e a s u re s 1 -2 4 . 107

1 3 . G u n th e r S c h u lle r , S tu d y in T e x t u r e s , m e a s u re s 2 1 - 7 6 119

1 4 . G u n th e r S c h u lle r , S tu d y in T e x t u r e s , m e a s u re s 7 7 - 8 6 130

15. H e r b e r t B ie la w a , S p e c tr u m , m e a s u re s 1 - 5 0 .................. 156

16. H e r b e r t B ie la w a , S p e c tr u m , m e a s u re s 5 1 - 1 5 1 .............. 168

x
17. H e r b e r t B ie la w a , S p e c tr u m , m e a s u re s 1 5 1 -2 0 3 . . . . 182

18. B r e n t H e is in g e r , S ta te m e n t, m e a s u re s 2 0 -2 6 198

19. B r e n t H e is in g e r , S ta te m e n t, m e a s u re s 3 0 -6 4 203

20. D onald E r b , T h e S t a r s C o m e O u t fr o m S ta r g a z in g ... 210

xi
 1

C h a p te r I

IN T R O D U C T IO N

P u b lis h e d w o rk s f o r the c o n c e rt band in c lu d e a s ig n ific a n t body

o f l i t e r a t u r e th a t u tiliz e s new c o m p o s itio n a l te c h n iq u e s , and i s ,

a c c o rd in g to d e fin itio n , a to n a l.^ O b s e rv a tio n s m ade by the w r i t e r

w h ile s e rv in g as D i r e c t o r o f Bands a t R a d fo rd C o lle g e in V i r g in i a

in d ic a te a h e s ita n c y on the p a r t o f school band d ir e c t o r s to u n d e rta k e

p e r fo r m a n c e s o f th is li t e r a t u r e in schoo l band p r o g r a m s . W h ile

^ C e n tra l to th is d is s e r ta tio n is the w r i t e r 's u s e o f th e t e r m

" a t o n a l." In o r d e r to u n d e rs ta n d its usage h e r e in , th e r e a d e r m u s t
re c o g n iz e th e m o r e tr a d itio n a l use o f to n a lity as r e fle c te d in th e m a s s
o f m u s ic a l p r a c tic e s and th e w r itin g s o f the p a s t w h ic h a r e s t i l l in u se
as m o ld e rs o f o u r v o c a b u la ry and u n d e rs ta n d in g . A c c o r d in g ly , to n a lity
d e s c rib e s m u s ic w h ic h r e la te s to th e Io n ia n d ia to n ic s c a le , the m a j o r -
m in o r h a rm o n ic v o c a b u la ry a s s o c ia te d w ith th a t s c a le (e s s e n tia lly
in v o lv in g the t r i a d ) , and c o n s e q u e n tly , m u s ic w h ic h is k e y o r ie n te d .
F o r the p u rp o s e s o f th is d is s e r ta tio n , a to n a l s e r v e s to d e s c rib e
th e body o f l i t e r a t u r e p o s t - 1950 th a t d e n ie s o r n eg ates tr a d itio n a l
to n a lity as d e fin e d a b o v e . T h e r e is no in te n t to deny the f a c t th a t to n a l
c e n te rs do e x is t in c o n te m p o r a r y l i t e r a t u r e , but c le a r l y , s u ch u ses o f
" to n a lity " a r e n o t th o se o f p a s t tr a d itio n s . I t is in th is s e n s e , and f o r
no o th e r d e s c r ip tiv e p u rp o s e (s u c h as f o r e x a m p le r e fe r e n c e to the
s o c a lle d V ie n n e s e S c h o o l o f the e a r ly tw e n tie th c e n tu ry ) th a t th e t e r m
a to n a l has been a d o p te d .
In th is v e in , th e a u th o r fe e ls h is use o f th is t e r m is c o m p a ra b le
w ith th e d e fin itio n by V in c e n t P e r s ic h e tti: " A to n a lity is a t e r m lo o s e ly
a p p lie d to m u s ic in w h ic h a d e fin ite k ey fe e lin g has been w e a k en ed o r
lo s t , and to m u s ic in w h ich no k e y g r a v ita tio n e v e r e x is te d . " T w e n tie th
C e n tu ry H a rm o n y ; C r e a t iv e A s p e c ts and P r a c tic e (N e w Y o r k : W . W .
N o rto n and C o . , I n c . , 1 9 6 1 ), p . 2 6 1 .
s e e m in g ly s e c u re w ith w o rk s u s in g the r e g u la r v o c a b u la ry o f n in e te e n th

c e n tu r y h a rm o n y , th e s e s a m e band d ir e c to r s d is p la y a re lu c ta n c e to

a p p ro a c h a to n a l w o rk s and in d ic a te in s e c u r ity in a n a ly z in g th is

li t e r a t u r e f o r th e p u rp o s e o f p e r fo r m a n c e . S e v e r a l s p e c ific e x p e r i­

e n c e s , id e n tifie d in s u c c e e d in g p a r a g r a p h s , tend to s u b s ta n tia te th is

o b s e r v a tio n .

S y m p o s iu m f o r N e w Band M u s ic

In F e b r u a r y o f 1 9 7 6 , the f i r s t " S y m p o s iu m f o r N ew Band

M u s ic " w as h e ld a t R a d fo rd C o lle g e .^ T h e p a r tic ip a n ts in the

S y m p o s iu m w e r e c o lle g e and high s choo l band d ir e c t o r s , c o m p o s e rs

o f band m u s ic , and th e V i r g i n i a In te r c o lle g ia te B a n d , w h ich w a s

c o m p ris e d o f c o lle g e s tu d e n ts fr o m the C o m m o n w e a lth o f V i r g i n i a .

E a c h o f th e c o m p o s e rs on th e p r o g r a m p re s e n te d h is own w o r k in an

open r e h e a r s a l w ith the band. S c h e d u le d betw een r e h e a r s a ls w e r e

open p a n e l m e e tin g s in w h ic h the c o m p o s e rs and band d ir e c to r s

d is c u s s e d v a r io u s a sp e c ts o f c o n te m p o r a ry band l i t e r a t u r e . Q u e stio n s

m o s t fr e q u e n tly asked by th e band d ir e c t o r s c o n c e rn e d w a y s o f u n d e r­

s ta n d in g th e m u s ic a l c o n te n t o f a to n a l p ie c e s so as to be a b le to p r e s e n t

c o h e re n t p e r fo rm a n c e s o f th e m : "W h a t m u s ic a l m e a n in g o r m u s ic a l

e x p re s s io n had th e c o m p o s e r s ought to c o m m u n ic a te ? " In th is v e in ,

T h is w r i t e r , to g e th e r w ith A r t h u r J a n n e r y , v ic e - p r e s id e n t o f
th e S o u th e a s te rn C o m p o s e r's L e a g u e , w as re s p o n s ib le f o r the c o n ce p t
and d e v e lo p m e n t o f th e " S y m p o s iu m f o r N ew Band M u s i c . "
band d ir e c t o r s a sked the c o m p o s e rs w hy th e y d id not ta k e th e tim e to

w r i t e e x p la n a tio n s o f t h e ir p ie c e s in a p r e fa to r y note to be p u b lish e d

w ith th e s c o r e . W a lt e r R o s s , c o m p o s e r and p r o fe s s o r o f m u s ic a t the

U n iv e r s ity o f V i r g in i a , re sp o n d ed tim e and a g a in b y s a y in g th a t the

c o m p o s e r had w r it t e n h is m u s ic a l m e a n in g in th e s c o r e , and th a t it

b e co m e s the r e s p o n s ib ility o f the c o n d u c to r to p re s e n t a p e r fo r m a n c e

w h ic h r e fle c ts w h a t is in h e r e n t in th e n o ta tio n . It is im p o r ta n t to

re c o g n iz e h e r e th a t o f th e te n w o rk s p re s e n te d d u rin g th is S y m p o s iu m ,

o n ly one w as in n o n -tr a d itio n a l n o ta tio n .

C o lle g e B and D ir e c t o r s N a tio n a l

A s s o c ia tio n M e e tin g

A n o th e r o rg a n iz e d e x p re s s io n on th e s u b je c t o f a to n a l band

l i t e r a t u r e o c c u r r e d d u rin g the 1976 C o lle g e Band D ir e c t o r s N a tio n a l

A s s o c ia tio n S o u th e rn D iv is io n M e e tin g . In the c o u rs e o f a s e s s io n on

c on du cting p re s e n te d by a p an el o f w h ic h th is w r i t e r w as a m e m b e r ,

q u e s tio n s a lm o s t id e n tic a l to th o s e asked a t the S y m p o s iu m f o r N ew

Band M u s ic w e r e r a is e d w ith r e g a r d to a to n a l band l i t e r a t u r e . These

q u e s tio n s r e fle c te d a re lu c ta n c e to s ch e d u le f o r p e rfo r m a n c e a to n a l

w o rk s because o f the s e e m in g ly d if f ic u lt , i f not im p o s s ib le , ta s k o f

a r r iv in g a t m u s ic a l m e a n in g o r m u s ic a l e x p r e s s iv e n e s s . S e v e ra l

in d iv id u a ls in d ic a te d a la c k o f e x p e r tis e in d e a lin g w ith th is l i t e r a t u r e .

A s c o n d u c to rs , and as te a c h e rs o f u n d e rg ra d u a te s tu d e n ts p r e p a r in g

f o r c a r e e r s as band d ir e c t o r s , m e m b e r s o f the au d ien ce q u e stio n ed

th e p a n e l w ith r e g a r d to s o m e m eth o d o f c o m in g to u n d e rs ta n d , in a
m u s ic a l s e n s e , a to n a l band m u s ic . N o te w o rth y h e re is the fa c t th a t a ll

o f th e people p a r tic ip a tin g in th is s e s s io n e x p re s s e d t h e i r fe e lin g s o f

s e c u r ity w hen w o rk in g w ith m o re tr a d itio n a l c o m p o s itio n s .

C on d u ctin g and Band L it e r a t u r e

C la s s e s a t R a d fo rd C o lle g e ,
V i r g in i a

F i n a lly , th ro u g h e x p e rie n c e gain ed fr o m th e te a c h in g o f g ra d u a te

and u n d e rg ra d u a te s tu d e n ts e n r o lle d in band lit e r a t u r e and conducting

c la s s e s a t R a d fo rd C o lle g e , i t has b eco m e in c re a s in g ly c le a r to the

w r i t e r th a t m e m b e rs o f th is a d v e n tu re s o m e g ro u p , so m e o f w hom

a lr e a d y d ir e c t high s choo l band p r o g r a m s , w ould v e n tu re in to the

p e r fo r m a n c e o f a to n a l w o rk s i f a p r a c t ic a l m ethod o f a r r iv in g a t u n d e r­

stan d in g th e m u s ic a l c o n te n t in th is lit e r a t u r e could be m ade a v a ila b le .

In fo rm a tio n d e a lin g w ith a to n a l m u s ic i s , f o r the m o s t p a r t , w r itte n by

th e o r is ts w hose a n a ly tic a l m ethods do not n e c e s s a r ily p ro v id e the

c o n d u c to r w ith the b ro a d p e rs p e c tiv e o f a p ie c e needed f o r p e r fo r m a n c e .

A p o in t o f f u r t h e r c o m p lic a tio n in a tte m p tin g to ap p ly the t h e o r is t 's

a p p ro a c h lie s in th e d iv e r s ity o f d e s c r ip tiv e te rm in o lo g y w h ic h d if f e r s

fr o m th e o r is t to th e o r is t . In th e fa c e o f such o b s ta c le s , i t is no

s u r p r is e to fin d th e a d v e n tu re s o m e s tu d e n t s u d d e n ly c a u tio u s ab o u t

spen d ing the tim e and e f f o r t n e c e s s a ry to c o m p reh e n d th e v a r ie t y o f

ja r g o n and a n a ly s is o f th e o r is t s , w hen th e re re m a in s doubt as to the

p r a c tic a l a p p lic a tio n o f th e s e a n a ly tic a l m eth o d s to the a r t o f

 o
c o n d u c tin g .

A l l o f th e e x p e rie n c e s d e s c rib e d above s e e m to in d ic a te th a t

band d ir e c t o r s and s tu d e n ts h ave an in te r e s t in p e r fo r m in g a to n a l band

lite r a tu r e . T h e i r h e s ita tio n to p e r fo r m th is l i t e r a t u r e is based on

t h e i r ow n d if f ic u lt ie s as s tu d e n ts o f m u s ic in u n d e rs ta n d in g u n f a m ilia r

c o m p o s itio n a l s ty le s . W h e n d e a lin g w ith c o n te m p o r a r y lit e r a t u r e

v e r s u s s ta n d a rd r e p e r t o ir e ( i . e . the band m u s ic o f G u s ta v H o ls t o r

tr a n s c r ip tio n s o f s ta n d a rd o r c h e s tr a l w o r k s ), the band d ir e c t o r does

not have a w e a lth o f re c o rd e d 4 and liv e p e rfo rm a n c e s fr o m w h ich to

d r a w m u s ic a l in te r p r e t a t io n s , n o r does he h a ve the b e n e fits o f books

r e p o r tin g the v ie w s o f d is tin g u is h e d c o n d u c to rs on " s ta n d a rd

r e p e r to ir e ." In s te a d , i t s e e m s the band d ir e c t o r m u s t a r r i v e a t h is

u n d e rs ta n d in g and in te r p r e ta tio n o f a w o rk th ro u g h r e la t iv e ly u naided

stud y o f th e s c o re i t s e l f . B e c au s e o f th is a lm o s t to ta l dependence on

s c o re s tu d y , th e r e a p p e a rs to be a need f o r a n a ly tic a l to o ls w h ich

h e lp to u n c o v e r p o s s ib ilitie s f o r in te r p r e t a t io n w ith in a to n a l band

O
R ic h a rd D e L o n e and o th e r s , and John W h ite , m a p a i r o f
re c e n t b o o k s , p r e s e n t v ie w p o in ts w h ic h s e e m to be based on m o r e
tr a d itio n a l c o n c e p ts (s e e B ib lio g r a p h y , n u m b e r 9 and 2 7 ) . W h ile
both o f th e s e books a r e w r it t e n by t h e o r is t s , t h e ir use o f m o re
tr a d itio n a l lan g u a g e has e n co u ra g e d the p r e s e n t w r i t e r in h is
p re p a ra tio n o f a to n a l band l i t e r a t u r e .
4
T h e w r i t e r is a w a r e o f the E d u c a tio n a l R e fe re n c e L i b r a r y
R e c o r d s , p ro m o tio n a l r e c o rd s p ro v id e d by v a r io u s p u b lis h e r s , and the
c o m p a r a tiv e ly lim it e d n u m b e r o f o th e r re c o rd in g s o f a to n a l band
l i t e r a t u r e . C o lle c t iv e ly , th e s e s o u rc e s do no t b e g in to m a tc h the
w e a lth and v a r ie t y o f re c o rd e d s ta n d a rd o r c h e s tr a l r e p e r t o ir e .
c o m p o s itio n s . I t is w ith th e hope o f p ro v id in g one such to o l th a t the

p r e s e n t s e t o f g u id e lin e s has been d e v e lo p e d .

D E V E L O P IN G A N A P P R O A C H T O
S C O R E P R E P A R A T IO N

A t th e o n s e t i t should be m ad e c le a r th a t the a n a ly tic a l m ethods

d e velo p ed in th is s tu d y a r e intended o n ly to s e r v e the s c o re p re p a ra tio n

needs o f the c o n d u c to r. T h e th e o r is t , w hose c o n c e rn is the " . . . sys­

te m a tic e x a m in a tio n o f a c o u s tic a l m ic r o s tr u c tu r e s . . . mi g h t fin d

the w r i t e r 's a p p ro a c h to a n a ly s is in a d e q u a te . R a th e r , the m e th o d

e m p lo y e d h e re s ee k s to a id in the d e v e lo p m e n t o f m u s ic a l p e rc e p tio n s

n e c e s s a ry to th e c o n d u c to r in p r e p a r in g to p e r fo r m th e c le a r ly d e fin e d

body o f a to n a l li t e r a t u r e w h ic h is th e c o n c e rn o f th is d is s e r ta tio n .

T h e w r i t e r w is h e s to e m p h a s iz e c e r t a in p e rs o n a l v ie w s th a t

h ave le d to the d e v e lo p m e n t o f th e p r e s e n t a p p ro a c h to s c o re p r e p a r a ­

tio n . O ne such v ie w is th a t m u s ic is a fo r m o f a r t i s t ic e x p re s s io n ,

r e g a r d le s s o f the p a r a m e te r s (s e e G lo s s a r y ) im p o s ed on any g iv e n

p ie c e by its c o m p o s e r. F o r e x a m p le , one c o m p o s e r m ig h t choose to

w r it e in a d ia to n ic a lly to n a l fa s h io n w h ile a n o th e r does not; o r the

m a t e r ia l o f one p ie c e m a y be p r i m a r i l y c o n c e rn e d w ith r h y th m ic r e l a ­

tio n s h ip s w h ile a n o th e r u ses tim b r e as the m o s t s ig n ific a n t e le m e n t.

T h e p a r a m e te r s th e n , r e p r e s e n t a p a le tte w ith w h ic h the c o m p o s e r has

5
John W in to n ( e d . ) , D ic tio n a r y o f C o n te m p o ra ry M u s ic (N e w
Y o rk : E . P . D u tto n and C o . , I n c . , 1 9 7 1 ), p . 7 5 3 .
chosen to w o r k . R e g a rd le s s o f w h a t e le m e n ts d o m in a te th a t p a le tte , the

end r e s u lt , a c c o rd in g to the v ie w h e ld h e r e , is s t i l l m u s ic . F u rth e r­

m o r e , th e re is the c o m m o n a lity o f m u s ic a l e x p re s s io n in h e re n t in e v e r y

w o rk .

In th is v e in , the w r i t e r fe e ls th a t f a m i l i a r concepts such as

p h ra s e and c a d e n c e , te n s io n and re p o s e , w h ic h have been used in

a n a ly z in g m o r e tr a d itio n a l m u s ic , can be e m p lo y e d in the e x a m in a tio n

o f n e w e r c o m p o s itio n s . F u r t h e r m o r e , th ro u g h the e x p e rie n c e s

r e la te d e a r l i e r , th e r e is th e in d ic a tio n th a t m o s t o f th e c o n d u c to rs who

a r e h e s ita n t to a p p ro a c h a to n a l band l i t e r a t u r e a r e a d m itte d ly m o re

f a m i l i a r w ith tr a d itio n a l m u s ic . I f th is be t r u e , th e r e s e e m s to be an

a d van tage in d e v e lo p in g an a n a ly tic a l m ethod f o r th is g ro u p , u sin g th a t

w h ich is c o m fo rta b le in o r d e r to a c q u ire k now ledge o f the u n f a m ilia r .

T h e p r e s e n t a p p ro a c h is based on the b e lie f th a t a to n a l band

li t e r a t u r e c a n be a n a ly ze d . . . f o r the p u rp o s e o f a c o n d u c to r's s c o re

p r e p a r a tio n . . . by using tr a d itio n a l c o n c e p ts , te r m in o lo g y , and

m e th o d s . F u r t h e r m o r e , th is tr a d itio n a l a p p ro ac h to s e r v e s c o re

p r e p a r a tio n can a id the c o n d u c to r in d e v e lo p in g a m u s ic a lly c o h e re n t

and e x p r e s s iv e p e r fo r m a n c e .

P u b lis h e d V ie w s on S c o r e
P r e p a r a tio n

E x a m in a tio n o f s ta te m e n ts abo u t s c o r e p re p a ra tio n by noted

c o n d u c to rs and a u th o rs o f c onducting te x ts r e v e a ls c o n s is te n t a g re e m e n t
 8

r e g a rd in g th e c o n d u c to r's need f o r a b ro a d v ie w o f the m u s ic he p e r ­

forms. A s s ta te d by N ic o la i M a lk o , in te r n a tio n a lly know n c o n d u c to r,

w hose notes have p ro v id e d E liz a b e th G re e n w ith m a t e r ia l f o r h e r

la t e s t book on conducting:

A w o r k o f v is u a l a r t has its c e n te r o f in t e r e s t , i t [s]

m o m e n ts o f q u ie t, its peaks o f p a s s io n , its c o n to u rs
fr o m s m a ll h ills to h ig h e s t m o u n ta in s . M u s ic a lly , a ll
such th in g s a r e d e lin e a te d in th e c o n d u c to r's s c o re w ith
the s a m e fo re th o u g h t as th a t o f th e p a in te r w ho g r a d u a lly
puts h is p ic tu r e on c a n v a s .
It is w e ll to s tu d y the s c o re f i r s t w ith the b ro a d
v ie w . I t is th e p a n o ra m ic v ie w , the ta k in g in o f the
w h o le s c e n e , p a y in g a tte n tio n to the fo r e s t in s te a d o f
the in d iv id u a l t r e e s . 6

R e fe r r in g to the c o n d u c to r's p re p a r a tio n o f a s c o r e , B e n ja m in

G ro s b a y n e s ay s "A s he p re p a re s to re h e a r s e a s c o r e , he m u s t a c h ie v e

a u n ifie d and in d iv id u a l c o n c e p t o f the m u s ic as a w h o le . . . . " 7

P e t e r F u c h s , in d is c u s s in g th e psych o lo g y o f c o n d u c tin g , fe e ls th a t

" . . . the p r im a r y th in g th a t a c o n d u c to r m u s t u n d e rs ta n d about a

c o m p o s itio n is its f o r m a l s t r u c t u r e , f i r s t in b ro a d o u tlin e s , such as

th e in tro d u c tio n , e x p o s itio n , d e v e lo p m e n t and r e c a p itu la tio n in a s o n a ta

Q
f o r m , and then down to the s m a lle s t d e t a i l . "

6 E liz a b e th A . H . G re e n and N ic o la i M a lk o , T h e C o n d u c to r and

H is S c o r e (E n g le w o o d C l i f f s , N ew J e r s e y : P r e n t ic e - H a l l , I n c . , 1 9 7 5 ),
p . 1 4.

7 B e n ja m in G ro s b a y n e , T e c h n iq u e s o f M o d e rn O r c h e s tr a l C o n -
d ucting (2nd e d . ; C a m b r id g e , M a s s . : H a r v a r d U n iv e r s ity P r e s s ,
1 9 7 3 ), p . 2 0 8 .

® P e te r P a u l F u c h s , P sy c h o lo g y o f C onducting (N e w Y o r k : MCA
M u s ic , 1 9 6 9 ), p . 3 4 .
 9

F i n a lly , th e r e is th is b e a u tifu l s ta te m e n t by S i r A d r ia n B o u lt:

T h e m a in o b je c t o f the in t e r p r e t e r o f m u s ic should
be in m y o p in io n to g iv e h is a u d ien c e the im p r e s s io n ,
a f t e r the p e r fo r m a n c e , th a t th e m u s ic , w h ic h has been
flo w in g p a s t t h e i r p e rc e p tio n , is now s ta n d in g , a s i t
w e r e , co n g ealed b e fo re th e m , so th a t th e y can c o n te m ­
p la te i t a t le is u r e , lik e a p ic tu re o r a b u ild in g .
T o a c h ie v e th is i t is o f g r e a t im p o rta n c e th a t the
i n t e r p r e t e r should h im s e lf g a in th is im p re s s io n o f e v e r y
w o r k b e fo re he s tu d ie s i t in d e t a il. He should pu t f i r m l y
in h is v ie w its k e y s t r u c t u r e , the b a lan c e o f its tu n e s ,
its e m o tio n a l s e q u e n c e , its d y n a m ic s h a p e , the p a tte rn
o f its c o lo u r s . I s u g g e s t th a t th is be done by r a p id ly
re a d in g th e s c o re - f a r f a s t e r than i t could be p e n -
fo r m e d - m a n y t im e s , u n til th e s e p ic tu re s a r e c le a r .
O n ly then c o m es the tim e f o r s lo w and d e ta ile d s tu d y .®

T h e C o n d u c to r's M a c r o - V ie w

W h ile a ll o f the above w r i t e r s a r e r e f e r r in g p r i m a r i l y to

o r c h e s tr a l l i t e r a t u r e th a t u ses th e h a rm o n ic v o c a b u la ry o f the e ig h t­

e en th and n in e te e n th c e n tu rie s (a s seen in the m u s ic a l illu s tr a tio n s

used in t h e i r re s p e c tiv e b o o k s ), th e r e s e e m s to be a u n iv e r s a l tr u th

echoed in a ll o f t h e i r s ta te m e n ts : a p ie ce o f m u s ic e x is ts as a w hole

p ie c e o f m u s ic . T o be e x p e rie n c e d as s u c h , e ac h p ie c e m u s t be

p re s e n te d w ith u n d e rs ta n d in g o f its in h e re n t u n ity . I f th is is s o , then

i t s e e m s the c o n d u c to r m u s t s t a r t and end h is w o rk w ith a b ro a d v ie w

o f the m u s ic he p e r fo r m s .

U n lik e th a t o f the t h e o r is t , w hose e x a m in a tio n o f a m u s ic a l w o r k

m a y be c o n s id e re d c o m p le te w hen th e m in u te d e ta ils o f c o m p o s itio n a l

® S ir A d r ia n B o u lt, A H andbook on the T e c h n iq u e o f C onducting

(L o n d o n : P a te rs o n 's P u b lic a tio n s L t d . , 1 9 6 8 ), p . 2 0 .
 10

te c h n iq u e a r e u n c o v e re d , th e c o n d u c to r's d e ta ile d a n a ly s is o f a w o rk

m u s t s e r v e to illu m in a te a b ro a d v ie w . T h e t e r m m a c r o - v ie w has been

d e velo p ed by th e w r i t e r to d e s c r ib e and d is tin g u is h th e unique a p p ro ac h

o f th e c o n d u c to r to th e s c o r e . T h e p u rp o s e , h e re th e n , is to p re s e n t

f o r th e c o n d u c to r a m e th o d o f a n a ly s is th a t r e a d ily d e v e lo p s h is m a c r o ­

v ie w (p e rc e p tio n o f th e b ro a d s tr u c tu r e ) o f a to n a l band c o m p o s itio n s ,

th u s a s s is tin g h im to d e v e lo p c o h e re n t p e rfo rm a n c e s o f th is body o f

lite r a tu r e .

D E F IN IT IO N O F T E R M S

O ne has o n ly to open the c o v e r o f a book d e a lin g w ith a n a ly s is ,

o r to re a d th ro u g h r e c e n t jo u r n a ls d e a lin g w ith c o n te m p o ra ry m u s ic

th e o r y , to r e a liz e th a t e a c h n e w c o m p o s itio n a l d e v ic e . . . e a c h tr a n s ­

fo r m a tio n o f w h a t m a y w e ll be an o ld e r fo r m o f m u s ic a l e x p re s s io n . . .

s e e m s to e n c o u ra g e a n e w a n a ly tic a l la n g u a g e . It a p p e a rs th a t th is

lan g u ag e . . . th is te r m in o lo g y . . . s u p p o rts s p e c ific "n e w " a p p ro a c h e s

to a n a ly s is , u s u a lly a im e d s p e c ific a lly a t the th e o r is t o r th e o ry s tu d e n t.

W e a r e thus le d to b e lie v e th a t m o r e tr a d itio n a l m eth o d s o f a n a ly s is

a r e in v a lid . T h e ja r g o n i t s e l f c r e a te s a h ig h ly in te lle c tu a l a u r a w h ich

s u rro u n d s th e m u s ic i t s e e k s to d e s c r ib e . F u r t h e r m o r e , th e r e is the

illu s io n th a t p ro c e s s , n o t e x p r e s s io n , is the pu rp o se o f the c o m p o s e r.

I t is l i t t l e w o n d e r th a t th e busy band d i r e c t o r , w hose p r i m a r y in te r e s t

is in m u s ic m a k in g , and w hose a n a ly tic a l s e c u r ity is ro o te d in

 11

e ig h te e n th and n in e te e n th c e n tu ry h a rm o n ic v o c a b u la r y , b eco m es

r e lu c ta n t to p e r fo r m n e w , a to n a l l i t e r a t u r e .

In th e v ie w o f th is w r i t e r , th e c o n d u c to r is re s p o n s ib le f o r

d e v e lo p in g the c o h e re n c e o f th e w o r k s he p e r fo r m s in a m a n n e r th a t

e n a b le s th e a u d ito r to p e r c e iv e th e c o h e re n t p ro g r e s s o f a p ie c e o f

m u s ic . W ith th is sense o f r e s p o n s ib ility a t the c e n te r o f h is e f f o r t s ,

th e c o n d u c to r is guided in h is in te r p r e t a t io n o f the s c o re : he s e e k s to

p r e s e n t, in an a c c e s s ib le m a n n e r , th e w o rk s he c o n d u c ts . It is th e r e ­

f o r e f o r the p u rp o s e o f e n han cing a c c e s s ib ility th a t th e te rm in o lo g y

used in th is s tu d y is e s s e n tia lly t r a d it io n a l. W h ile th e t e r m s a r e

f a m i l i a r , the s c o p e , not the c o n c e p ts , o f e a c h has been b ro a d en ed

beyond tr a d itio n a l u s a g e .

G e n e ra l T e r m in o lo g y

M e lo d y — th e a s p e c t o f m u s ic in v o lv in g p a r t ic u la r c o n to u r and
p ro v id in g u s u a lly m e m o r a b le d ir e c tio n to a n y and a ll
h o riz o n ta l p itc h r e la tio n s h ip s .

H a rm o n y — p itc h re la tio n s h ip s based upon s o m e p r in c ip le o f

o rg a n iz a tio n by w h ic h an y and a ll o f th e s e r e la tio n ­
s h ip s m a y be e x p la in e d . P r in c ip le s o f o rg a n iz a tio n
in c lu d e v e r t ic a l as w e ll as s u b seq u en t p itc h r e la ­
tio n s h ip s .

R h y th m — re g u la te d m o tio n to w a rd a s p e c ific g o a l. I t is the

r e s u lt o f re g u la tin g any and a ll o f the a sp e c ts o f
sound as th e y e x is t in t h e i r te m p o r a l s ta te and need
n o t be lim it e d to the u s u a l m e t r ic co m p o n en t o f th e
s c o re .

D y n a m ic s — used in th e u s u a l m u s ic ia n 's s e n s e d e fin e s the

loudness and s o ftn e s s o f sound ( i . e . in te n s ity ).
T h e r e a d e r m a y w is h to r e m e m b e r th a t the
 12

d e r iv a tio n o f th e t e r m d y n a m ic s s u g g ests an
ebb and s tre n g th o f a c tio n .

T im b r e — th e p e c u lia r and e s s e n tia l c h a r a c te r is tic s o f tone

c o lo u r .

T e x t u r e — th e c o m p o s ite a u d ito ry s e n s a tio n re p re s e n tin g an

e x p re s s io n o f one o f th e fo llo w in g , o r c o m b in in g
a n y tw o o r m o re ite m s , o r c o m b in in g a ll o f the
ite m s : m e lo d y , h a rm o n y , r h y th m , d y n a m ic s , and
t i m b r e . I t is n o t one o f th e s e th in g s , b u t e v e r y ­
th in g .

F o r m — th a t w h ic h b eco m e s know n as the r e s u lt o f o b s e rv in g

a ll o f the a b o v e , e it h e r th ro u g h a u d itio n o r th ro u g h
s c o r e s tu d y a lo n e .

W h ile p e rh a p s in a d eq u a te to the a n a ly tic a l needs o f th e th e o r is t ,

th e s e a r e a s s e e m to be c o m p le te in d e s c rib in g a ll o f the 'b ro a d v ie w '

m u s ic a l c o n c e rn s o f the c o n d u c to r w ho w is h e s to be in v o lv e d w ith the

body o f li t e r a t u r e re p re s e n te d in th is s tu d y . O th e r te r m in o lo g ie s

e m p lo y e d in the a n a ly s is s e c tio n s o f th is s tu d y r e ta in tr a d itio n a l

m e a n in g s , i . e . m o tiv e s ig n ifie s a s m a ll m e lo d ic f r a g m e n t, chord

in d ic a te s th r e e o r m o r e notes sounding to g e th e r , m e t e r d e s ig n a te s the

o r g a n iz a tio n o f beats in to m e a s u r e s .

M e lo d ic R h y th m

A t e r m w h ich the r e a d e r w i l l re c o g n iz e as not being in co m m o n

use h as been c o in ed to c o v e r the c o m p o s ite o f s e v e r a l l i n e a r e ffe c ts in

a to n a l band l i t e r a t u r e . T h e p re s e n t w r i t e r a g re e s w ith W h ite who s ay s

I t is im p o r ta n t to r e m e m b e r th a t m e lo d y is a p r im e
m o v in g fo r c e in m u s ic th ro u g h the a g e s ; and v it a l to m e lo d y ,
r e g a r d le s s o f s t y le , is the c o n tr a s t o f fo r w a r d m o tio n to
p o in ts o f fu ll o r p a r t ia l r e p o s e . T h u s , the fe e lin g o f p h ra s e s
 13

and cad en ces is as im p o r ta n t to c o n te m p o ra ry m u s ic as to

e ig h te e n th and n in e te e n th c e n tu ry m u s ic . ^

H e adds l a t e r ,

B u t m e lo d y can n o t e x is t w ith o u t r h y th m , f o r no
m u s ic a l s e r ie s o f p itc h e s can e x is t w ith o u t s o m e kind
o f rh y th m ic shape . . . . No m a t t e r how h a rd one m a y
t r y , i t is v ir t u a l l y im p o s s ib le to sound a s e r ie s o f even
tw o o r th r e e d iffe r e n t p itc h e s w ith o u t t h e ir a c q u irin g
so m e s o r t o f r h y th m ic a r tic u la tio n d e riv e d fr o m
d ir e c tio n s , s tr e s s e s , d y n a m ic s , o r the p r o file s o f the
p itc h e s th e m s e lv e s . ^ ^

T h u s th e w r i t e r w is h e s to p re s e n t his use o f th e t e r m m e lo d ic

rh y th m w h ic h id e n tifie s the c o n ce p t th a t e v e r y p ie c e o f m u s ic has w ith in

i t s e l f te m p o r a l r e la tio n s h ip s w h ic h a re a u d ib ly p e rc e iv e d as a p ro g r e s ­

s io n o f sound e v e n ts . F u r t h e r m o r e , th e s e te m p o r a l r e la tio n s h ip s ,

w h e th e r caused by a s e r ie s o f p itc h e s fo rm e d in the tr a d itio n a l m e lo d ic

s e n s e , a p ro g re s s io n o f te x tu r a l e v e n ts , o r a v a r ie t y o f d y n a m ic le v e ls ,

p ro d u c e m o tio n and re p o s e . T h e c o m p o s ite te m p o ra l ( li n e a r ) e ffe c t

caused by re la tio n s h ip s am ong m u s ic a l e le m e n ts su ch as m e lo d y ,

h a r m o n y , r h y th m , d y n a m ic s , t im b r e , and t e x t u r e , is id e n tifie d by th is

w r i t e r as m e lo d ic r h y th m . I t is w ith the In te n t o f d e m o n s tra tin g the

le s s e v id e n t m o tio n and re p o s e in a to n a l band lit e r a t u r e to th o se who

a r e a p p a re n tly f a m i l i a r w ith the m o r e tr a d itio n a l im p lic a tio n s o f p h ra s e

and cadence th a t the t e r m m e lo d ic rh y th m is used to s u m m a r iz e th is

s e e m in g ly a b s tru s e c o lle c tio n o f a u d ito ry re la tio n s h ip s .

^°John D . W h ite , T h e A n a ly s is o f M u s ic (E n g le w o o d C l i f f s ,
N e w J e r s e y : P r e n t ic e - H a l l , I n c . , 1 9 7 6 ), p . 4 1 .

11 I b i d . , p . 7 1 .
 14

L IM IT A T IO N S

T h e w o rk s used as e x a m p le s in th is s tu d y a r e :

1. a to n a l in th e d ia to n ic sense o f the w o rd to n a lity . W h ile

s o m e m a k e use o f to n a l p itc h c e n t e r s , th e s e c e n te rs a r e

d e fin e d in o th e r than the e ig h te e n th and n in e te en th c e n tu ry

tr a d itio n o f d o m in a n t-to n ic r e la tio n s h ip s .

2. a l l w r it t e n in tr a d itio n a l s y m b o ls o f n o ta tio n , u tiliz in g

th e fiv e lin e s t a f f and tr a d itio n a l s c o re a p p e a ra n c e .

T h e o n ly e x c e p tio n s to th is a r e those w h ic h p e r m it the

in c lu s io n o f w o rk s using e le c tr o n ic tape and som e

a le a t o r ic w r it in g .

3. a l l w r itte n f o r the l a r g e r c o n c e rt band as opposed to the

w in d e n s e m b le , w h ich is g e n e r a lly thoug ht o f as a s m a lle r

g ro u p o f w in d s and p e rc u s s io n .

4. a l l p u b lis h e d , thus re a s o n a b ly in s u rin g t h e i r a v a ila b ility

f o r s tu d y and p e r fo r m a n c e .

T h e te c h n iq u e o f a n a ly s is a p p lie d to th e w o rk s in c lu d e d in

C h a p te rs I I I th ro u g h V I is in keep in g w ith the m a c r o - v ie w n e c e s s a ry to

th e c o n d u c to r. No a tte m p t is m ad e to p ro d u c e an a n a ly tic a l m ethod o r

m o d e l to s e r v e the needs o f th e th e o r is t . A l l o b s e rv a tio n s and d e s c r ip ­

tio n s m a d e a r e to u n c o v e r o n ly th a t m a t e r ia l w h ic h w i ll d e ve lo p the

c o n d u c to r's m a c r o - v ie w . O n ly those to o ls o f a n a ly s is d e velo p ed in

C h a p te r I I a r e a p p lie d to th e m o d e ls .
 15

S E L E C T IO N O F T H E L IT E R A T U R E U S E D A S
M O D E L S F O R S C O R E P R E P A R A T IO N

T h e band s c o re s used as m o d e ls in th is study w e re s e le c te d by

th e fo llo w in g p ro c e s s :

1 . T h e s c o re s o f f o r t y - f i v e w o rk s (lis te d in A p p e n d ix A ) ,

s e le c te d in k ee p in g w ith the c r i t e r i a s e t fo r th in the lim ita tio n s on

p ag es 11 and 1 2 , w e r e p re s e n te d to a band li t e r a t u r e c la s s a t R a d fo rd

C o lle g e . F r o m th e s e s c o r e s , e ac h s tu d e n t w as asked to c o m p ile a

s e le c te d l i s t o f those w o rk s w h ic h he f e l t needed c o n s id e ra b le i l lu m i ­

n a tio n , beyond h is p re s e n t a n a ly tic a l a b ilit ie s , b e fo re he w ould c o n s i­

d e r d e a lin g w ith th e m as a c o n d u c to r.

2. E a c h s tu d e n t w as a sk e d to c o m p ile a s e p a ra te l i s t o f w o r k s ,

in a d d itio n to the f o r t ^ - f i v e s c o re s p re s e n te d , w h ic h he f e l t should be

in c lu d e d in th is s tu d y . In te r e s tin g ly enough, none o f the stu d e n ts

c o m p ile d such a s u p p le m e n ta ry l i s t .

3 . T h e s tu d e n t lis t s p ro d u c e d the fo llo w in g tw e lv e s c o re s :

a. B a d in g s , H en k; T r a n s itio n s
b. B a s s e tt, L e s lie ; D e s ig n s , Im a g e s and T e x tu r e s
c. B ie la w a , H e r b e r t ; S p e c tr u m
d. E r b , D o n a ld ; S ta r g a z in g
e. F in n e y , R oss L e e ; S u m m e r in V a lle y C ity
f. H e is in g e r , B re n t; S ta te m e n t
g. M a ilm a n , M a r t in ; G e o m e trie s N o . 4
h. P e r s ic h e t t i, V in c e n t; P a r a b le
i. S c h u lle r , G u n th e r; S tu d y in T e x tu r e s
j. T u l l , F is h e r ; R e fle c tio n s on P a r is
k. T u l l , F is h e r ; S k e tc h e s on a T u d o r P s a lm
1. W e s te r g a a r d , P e t e r ; T u c k e ts and S e n n e ts
 4. T h e li t e r a t u r e to be in c lu d e d in th e s tu d y w as chosen fr o m

th e tw e lv e s tu d e n t-s e le c te d s c o r e s by th e w r i t e r to r e p r e s e n t, w ith ­

o u t d u p lic a tio n , as b ro a d a s p e c tru m o f a to n a l band li t e r a t u r e as

p o s s ib le .
 17

C h a p te r I I

A N A L Y T IC A L P R O C E D U R E S : G U ID E L IN E S
F O R S C O R E P R E P A R A T IO N

T h e a n a ly tic a l p ro c e d u re s develo p ed h e re a r e based on the

c o n c e p t th a t the c o n d u c to r's ta s k is to p re s e n t a p ie c e o f m u s ic as a

w h o le w o rk o f a r t . I f th is c o n c e p t is w e ll founded, i t w ould a p p e a r

th e c o n d u c to r's p re p a r a tio n f o r th is ta s k r e q u ir e s a m a c r o - v ie w o f the

s c o re . T h e m eth o d p re s e n te d is intended as a to o l to a id in th is p u r­

pose and should n o t be in te r p r e te d as a n yth in g m o r e . I t is hoped th a t

u tiliz a t io n o f th is to o l w i l l a s s is t th e c o n d u c to r in d e v e lo p in g a m u s i­

c a l in te r p r e ta tio n o f e a c h w o r k to w h ic h he a p p lie s i t .

T h e p r e s e n t w r i t e r w is h e s to e m p h a s iz e th a t th e r e a r e tw o

im p o r ta n t a sp e c ts in h is a n a ly tic a l te c h n iq u e : ( 1 ) d e s c r ip tiv e a n a ly s is

fo llo w e d by (2 ) s y n th e s is and c o n c lu s io n s . T h e a p p ro a c h to d e s c r ip ­

tiv e a n a ly s is , as d e ve lo p e d h e r e , has been in flu e n c e d by m eth o d s o f

s c o re p re p a ra tio n ta u g h t in the conducting c la s s e s o f D r . R o b e rt

H a r g r e a v e s , by th e p u b lish e d v ie w s on s c o re p re p a r a tio n o f v a rio u s

c o n d u c to rs , and by th e a p p ro a c h e s to m u s ic a l a n a ly s is p re s e n te d in

r e c e n t books by th e o r is t s .
 D ESCR IPTIVE ANALYSIS

T h e p ro c e s s o f d e s c r ip tiv e a n a ly s is as d e ve lo p e d in th is ch ap ­

t e r is based on the in v e s tig a tio n o f th o se m u s ic a l e le m e n ts in the

s c o re w h ic h , in th e v ie w o f th is w r i t e r , in flu e n c e the p h ra s e s and

cadence po in ts in a to n a l band l i t e r a t u r e . D is c o v e r ie s m ad e th ro u g h

th is in v e s tig a tio n a r e in te n d e d to a s s is t the c o n d u c to r in d ra w in g

c o n clu s io n s ab o u t the m u s ic a l content o f a p ie c e . T h e c h a r t fo r m a t

found in F ig u r e 1 , page 1 9 , has been d e ve lo p e d as a c o n v e n ie n t m a n n e r

o f g r a p h ic a lly illu s t r a t in g the fin d in g s o f d e s c r ip tiv e a n a ly s is .

 19

F ig u r e 1

D e s c r ip tiv e A n a ly s is C h a r t

1 .MEASURE NUMBER

2 . SCORE MARKINGS

3 . MELODIC
RHYTHM(S)

(PRIMARY
CIRCLED)

4 . DYNAMICS
4
? .TIMBRE(S)

6 . TEXTURE
7 . HARMONIC
IMPLICATIONS
8 . CONDUCTING
PHRASES

L in e 1 — C o rre s p o n d s to th e m e a s u r e n u m b e rs in th e s c o r e .

L in e 2 — D u p lic a te s a ll o f the c o m p o s e r's m a rk in g s such as

a) M e te r(s )
b ) T e m p o — d e s c r ip tiv e d ir e c tio n s and m e tro n o m e
m a rk in g s
c ) R e h e a rs a l le t t e r s o r n u m b e rs when n o t sp aced
a t r e g u la r in te r v a ls
d ) S t y lis t ic in d ic a tio n s
e ) D ouble b a rs — re p e a te d s e c tio n s
f ) A n y o th e r m a r k in g in d ic a te d by th e c o m p o s e r

L in e 3 — Id e n tifie s the m e lo d ic r h y th m (s ).

L in e 4 — In d ic a te s la r g e d y n a m ic s c h e m e s

L in e 5 — Id e n tifie s t im b r e ( s ) o f m e lo d ic m a t e r ia l a n d /o r
a c c o m p a n y in g m a t e r i a l .
 20

L in e 6 — D e s c rib e s te x tu r e (s ) .

L in e 7 — In d ic a te s h a rm o n ic im p lic a tio n s , i f any e x is t .

L in e 8 — R e p re s e n ts the co n clu s io n s fo rm u la te d th ro u g h the

second a s p e c t o f th is a n a ly s is .

M a c r o - V ie w

In th e s y s te m re c o m m e n d e d to the s tu d e n t o f c o n d u c tin g , the

w r i t e r p ro p o s e s a s u r v e y o f th e e n tir e s c o re in o r d e r to g a in a m a c r o ­

v ie w im p r e s s io n o f its c o n te n ts . T h is s u rv e y w o u ld be a c c o m p lis h e d

by " re a d in g th ro u g h " the s c o re s e v e r a l tim e s r a p id ly . I t is the in te n t

o f th is s u rv e y in g p ro c e s s to r e v e a l c e r ta in fe a tu r e s o f th e w o rk such

as le n g th , te x tu r a l th ic k n e s s , r h y th m ic c o m p le x itie s , unusual

n o ta tio n , and " o u t o f the o r d in a r y " s c o re s t r u c t u r e . T h is is an

im p o r ta n t s te p f o r the c o n d u c to r because i t p ro v id e s an in s tin c tiv e

fe e lin g f o r w h a t a p ie c e i s , m uch in the s a m e m a n n e r as an a r c h ite c t

v is its the s ite f o r w h ic h he w i l l d e sig n a b u ild in g in o r d e r to " fe e l"

th e s u rro u n d in g s in w h ic h h is w o rk w ill u ltim a te ly e x is t.

M e c h a n ic s

H a v in g thus b e co m e "a c q u a in te d w ith the t e r r i t o r y , " th is

w r i t e r fin d s i t m o s t h e lp fu l to n u m b e r a ll the m e a s u re s in the s c o re

and then to e n te r the n u m b e rin g on lin e I o f th e d e s c r ip tiv e c h a r t .

T h is p ro v id e s f o r q u ic k c ro s s r e fe r e n c in g .

L in e 2 o f th e d e s c r ip tiv e c h a r t w as d e sig n e d f o r e n te r in g a ll

o f the m a rk in g s in the s c o re g iv e n by the c o m p o s e r su ch as m e t e r ,

 21
te m p o and te m p o v a r ia tio n s (in c lu d in g m e tro n o m e m a r k in g s ),

r e h e a r s a l le t t e r s o r n u m b e r s , d ir e c tio n s o f s ty le (s u c h as m a r c a to

and e s p r e s s iv o ), double b a r lin e s , k e y s ig n a tu r e s , re p e a te d s e c tio n s ,

and a n y o th e r w r it t e n d ir e c tio n s . E a c h o f th e s e in d ic a tio n s can be

h e lp fu l in d e te rm in in g s e c tio n s w ith in a p ie c e , and once c h a r te d ,

s e r v e s as a c o n ve n ie n ce in the l a t e r s te p s o f a n a ly s is .

M e lo d ic - r h y t h m

In the v ie w o f th is w r i t e r , th e p r i m a r y c o n c e rn o f d e s c r ip tiv e

a n a ly s is is the d is c o v e ry o f m e lo d ic rh y th m s (a s d e fin e d e a r l i e r ) .

T h e w r i t e r w is h e s to r e -e m p h a s iz e h is v ie w o f m e lo d ic -r h y th m

w h ic h has been in tro d u c e d as a m e a n s o f id e n tify in g th e c o m p o s ite

te m p o r a l ( l i n e a r ) e ffe c t w h ic h is h e a rd as the r e s u lt o f re la tio n s h ip s

a m o n g th e m u s ic a l e le m e n ts w ith in a p ie c e o f m u s ic . I t is hoped

th a t th e b r i e f d is c u s s io n w h ic h fo llo w s w i ll s e r v e to il lu s t r a t e , by

a c tu a l e x a m p le , usage o f th e t e r m m e lo d ic r h y th m .

S o m e tim e s m e lo d ic rh y th m is based on tim b r e a n d /o r te x tu r e

as d e m o n s tra te d in E x a m p le 1 . C o n s id e rin g the v a rio u s e n tra n c e s o f

b a s s , a lt o , and s o p ra n o c la r in e ts in m e a s u r e s 6 2 - 6 4 , and o f t r o m ­

b o n e s , c o n tra b a s s c la r in e ts (m e a s u r e 6 5 ) , th e m e lo d ic rh y th m w ould

a p p r o p r ia t e ly be fo r m a liz e d as in C h a r t 1 , page 2 4 . R h y th m ic m o tio n

is c r e a te d by in c r e a s in g ly m o r e fre q u e n t e n tra n c e s o f th e in s tru m e n ts

m e n tio n e d a b o v e . T h e te m p o r a l r e la tio n s h ip o f th e s e e n tra n c e s ,

s u p p o rte d by f i r s t q u ic k e n in g and then s lo w in g rh y th m s in the

 22

p e rc u s s io n p a r t s , p ro d u c e s a m e lo d ic rh y th m in d ic a tin g m o tio n to w a rd

p o in ts o f b r i e f re p o s e in m e a s u r e 6 4 and a g a in in m e a s u re 6 7 .

E x a m p le 1

G u n th e r S c h u lle r , S tu d y in T e x t u r e s ,
m e a s u re s 6 1 - 6 9

|»q „ ti ii tH
*( -•> : . ; j . - ^ 1 ; '' T i": :

o '-jv -a . ' - -n? • • '17'^V

'.S’-bTrMM

ttCKCI.J ;• j - :: :1 L

: «‘""P*
5/p~ .L \ ; .•• --• •v';i y :V :J. : y - T B S I
:T^Jb-y y .- '\ - a a a r" XfT-i
— Ff
i:>- .‘."■‘..Li - a ''
— PP

ir".uj>r- •. n / i t i j f r j ■• ' =i i «.p r ja . . J

.jL j ■ .—| J1J J J-J J J-* --------) 1 n J) » I 1 .

C o p y rig h t 1971 liy A w x ria te tl M u sic P ublishers, In c ., N e w Y o rk

A il R ig h ts K c v r v c t l

R e p ro d u c ed by p e r m is s io n .

f
 23

Example 1 continued.

Oba.

E t C l.

(♦ S o lil

mp >>■ *>p

mp
r n

mp

mp
>■ *J>> M>
BlBXIsJ
•»!> >- «"P» mp

|0|>enJ j-
BV Cera.^

F Has.

m.

T b n i.

Bar.

Timp.

PP

Brie.
•If
 Melodic Rhythm of measures 65-69 in

h
aX
s.

V)
a
0)

<0
o>

00
7.HAX10NIC
INDICATIONS
24
 25

In E x a m p le 2 , pages 2 6 and 2 7 , th e r e a r e th r e e d iffe r e n t

m e lo d ic rh y th m s d e fin e d by t i m b r e , t e x t u r e , and d u r a tio n . C h a rt 2 ,

page 2 8 , v ie w e d w ith the s c o r e , s e e m s to in d ic a te th a t tw o o f th e s e

m e lo d ic r h y th m s , th o se o f the lo w w oodw inds and the u p p e r w o o d w in d s,

fu n c tio n in a c o n tra p u n ta l m a n n e r , i . e . a g a in s t e ach o th e r w h ile the

t h ir d m e lo d ic r h y th m , p ro d u c e d by th e b r a s s , s e e m s to s e r v e as a

fo r m o f a c c o m p a n im e n t. T h e " a c c o m p a n im e n t" ends in m e a s u re 20

and th e tw o s i m i l a r w oodw ind tim b r e s e v e n tu a lly p ro d u c e a fe e lin g

o f c a d e n c e in m e a s u re s 21 and 2 2 .

A s illu s tr a te d by th e e x a m p le s a b o v e , p r i m a r y c o n s id e ra tio n

o f m e lo d ic rh y th m and th e fa c to r s th a t c o n trib u te to i t c an s e r v e to

id e n tify p a tte rn s o f m o tio n and r e p o s e , o f te n s io n and r e la x a t io n , o f

a c t iv it y and r e s t synon ym o us w ith p h ra s e and c a d e n c e . T h e s e te r m s

s e e m to d e s c r ib e th e phenom enon o f m u s ic a l p h ra s e s o b s e rv a b le

w ith in a g iv e n p ie c e o f m u s ic .

T h e w r i t e r w is h e s to e m p h a s iz e once m o re th a t r h y th m , a s the

m e a s u r e o f t im e in th is te m p o r a l a r t o f m u s ic , is the m o s t im p o r ta n t

c o n c e rn o f th e c o n d u c to r. In th e w o rd s o f noted c o n d u c to r M a x R u d o lf,

" O n ly i f th e c o n d u c to r a p p ro a c h e s h is ta s k w ith a d e fin ite id e a o f th e

r h y th m ic re q u ire m e n ts f o r e ac h in s tr u m e n t, can he c o n tro l a r e h e a r s a l

12
e f f ic ie n t ly and d ir e c t a good p e r fo r m a n c e . "

^ M a x R u d o lf, T h e G r a m m a r o f C o n d u c tin g , re v is e d e d itio n

(N e w Y o r k : G . S c h i r m e r , I n c . , 1 9 6 9 ), p . 6 8 .
 26

Example 2

G u n th e r S c h u lle r , S tu d y in T e x t u r e s ,
m e a s u re s 1 7 -2 4

'f f jy f ' :
^ ' —=--- / .......................'^2-cJ
S W - g « . 'r ^ - ^ S t e i L l

:ji S E E B . ,f •' • .j £ r
*CI»J /

£ ) C o p y r ig til 1971 b y Associated M u s ic P v ld iih e n , In c ., N e w Y o rli

A l l K iffh U Reserved

R e p ro d u c e d b y p e r m is s io n .
 27

Example 2 continued.

F tc *,

Fl<«

Ob*.

B.Hs.

til ff f ■i —

jy l -----------

— -~.T
f• y
r _____
. r_fof rj

i-r-

*11

*f»F
*_ 2 _

FP

' // ftarcnfo — ----

Tub*
” // jfarrafo ■— ■■■■ ■- ~*-~

Timp.
' mf
 28

Chart 2

M e lo d ic R h y th m o f m e a s u re s 1 8 -2 3 in
S tu d y in T e x tu r e s

i.MEASURE NUMBER 18 2o X/ ax 23
2.SCORE MARKINGS
3.MELODIC a n i h i h i ’f / i r m rm rm
RHYTHH(S)
f mfitrm l i nj A j it rm j j-
(FRIMARY 3 * •
CIRCLED) - 11-
Mtl H I
"if1
4.DYNAMICS nf P
L ow
H |«H
s.TIITREfS) $<AIS
i
6.TEXTURE j P«lyfKmic
7.harm::;ic
IMPLICATIONS jMom
8.CONDUCTING l
1l
1 j
1
PHRASES

F a c t o r s T h a t C o n trib u te to
M e lo d ic R h yth m

T h e a u th o r h as found i t m o s t h e lp fu l to m a k e c a r e fu l note of;

( 1 ) d y n a m ic s , (2 ) t i m b r e , ( 3 ) t e x tu r e , and ( 4 ) h a rm o n ic im p lic a tio n s

d u rin g th e p ro c e s s o f c o m p ilin g m e lo d ic r h y th m . T h e in t e r r e la t io n ­

s h ip s o f th e s e e le m e n ts , w hen c a r e fu lly n o te d , s e e m in g ly c o n trib u te

t o , s u p p o rt, and s o m e tim e s c l a r i f y , o b s e rv a tio n s p e rta in in g to the

m e lo d ic r h y th m .
 D y n a m ic s . C o n s id e ra tio n s used in th is d e s c r ip tiv e a n a ly s is to

d e te r m in e th e p ro b a b le a u d ito ry e ffe c t o f d y n a m ic s a r e ( 1 ) th e c o m -

13
p o s e r 's w r it t e n in d ic a tio n s , ( 2 ) c o n to u r o f th e m e lo d ic lin e , ( 3 ) the

n u m b e r and t im b r e o f in s tr u m e n ts s o u n d in g , (4 ) p h ra s e m a rk in g s and

( 5 ) th o se s o n o r itie s th a t s ta n d o u t as b ein g s ig n if ic a n tly long in d u r a tio n .

W ith r e g a r d to the la s t c o n s id e ra tio n , th is w r i t e r o b s e rv e s th a t lo n g e r

d u ra tio n s u s u a lly in d ic a te r e p o s e , e it h e r b r i e f o r c a d e n tia l in n a tu r e .

In th is s a m e v ie w , th e r e s e e m s to be an im p lie d " d y n a m ic m o tio n "

to lo n g s o u n d s , no m a'cter how s u b tle th a t m o tio n m a y b e . I f th e s e

o b s e rv a tio n s a r e t r u e , th en i t w ould fo llo w th a t, in th e a b se n c e o f an y

in d ic a tio n s by th e c o m p o s e r , the i n t e r p r e t e r m u s t d e te r m in e w h e th e r

a s lig h t c re s c e n d o o r d e s c re s c e n d o is in o r d e r . T h is d e c is io n c a n b e s t

be m a d e by e x a m in in g th e m e lo d ic r h y th m . I t is hoped th a t a ll

c o n c lu s io n s w ith r e g a r d to the a u d ito r y e ffe c t o f d y n a m ic m o tio n based

on a n y o f the fiv e ite m s above w ould tend to c l a r i f y and s u p p o rt th e

p h ra s in g o f m e lo d ic r h y t h m .

E x a m p le 3 , p a g es 3 0 and 3 1 , illu s t r a t e s a n o th e r k in d o f d y n a m ic

m o tio n th e c o n d u c to r m ig h t d r a w f r o m the n o ta tio n . In th is e x a m p le ,

1® The w r i t e r w is h e s to e m p h a s iz e his d e fin itio n o f m e lo d ic -

rh y th m a s th e c o m p o s ite te m p o r a l ( l i n e a r ) e f fe c t w h ic h is h e a rd as
th e r e s u lt o f r e la tio n s h ip s am ong th e v a r io u s m u s ic a l e le m e n ts w ith in
a p ie c e . I t is in th is s e n s e th a t " m e lo d ic lin e " is u s e d . T h e r i s e and
f a l l , c o n to u r , o f m e lo d ic lin e is s o m e tim e s re v e a le d by a s tu d y o f the
s c o r e to g e th e r w ith th e d e s c r ip tiv e c h a r t so as to r e v ie w th e v a rio u s
m u s ic a l e le m e n ts .
 30

Example 3

M o r to n G o u ld , P r i s m s , 5 th m o v e m e n t,
m e a s u re s 1 -7

B r is k 'f le e t in g > • »44

j; _
P '■ ■■■■■
■w
8.
6 r ‘

P - -
.8

P ■ 8=
►»M! ,K» 1. V. -i* r *1
jh -W
SmO« C la r in tt
P k ■: 'Xi
I i Sn:i
|..t* t MS
Clarinet*
«/'■
5 boh

Alto CUr>;*#’»
** • - - ’£ ! / s ■ .<■V 8 ;
I Sc io P * a ) ;

fiats ••J* ,
8;
^2 - - s #71
Contfobass Clarinet* ?; r; - 18 -

A!toSoiophone* £
8 ' - :

Ibnor Soiopooni
i - 8 •: •

Baritone Sotophomi
p. :

B r is k - f le e t in g J >44

i? !?.
Gcrr>«fft
8 t ill* S
PP

T ru m p e t* 8 * £
Trombones
, 'Utt.t r.
8:
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fie r i tone*
tS- 8
Is iL

p W '• r . 'r : •■' ■■■

8i > * I
p
8 \ - /J . •. \ .I
C r» i ho ’ j s*.c

TombMi* ino, 1 r*0 "e - 8 - 5 ji —

■i .
V■J' ■■
—
ju . .*- - - 8
Cymbals, lo "» - tom

C o p y r ig h t 0 1962 by C h a p p e ll & C o . , In c . and G & C M u s ic

C o rp o ra tio n A L L R IG H T S R E S E R V E D In te r n a tio n a l C o p y rig h t
S e c u re d U sed by p e r m is s io n o f C h a p p e ll & C o . , In c .
 31

Example 3 continued.

Picc

m
. . . j
.fcJ/5EE
2 Soli

l_So!o P .

a . a.

m
T So*.

So*

flStf Mutes "& S"'’ I

U li

Tlmp
th e m e lo d ic rh y th m s e e m s to im p ly a q u ic k e n in g p a tte r n o f e ig h th -n o te

t r i p l e t s and s ix te e n th note g ro u p in g s . A ls o o b s e rv a b le is th e c o n to u r

o f th e m e lo d ic lin e w h ic h a t f i r s t descends th ro u g h th e f lu t e s , s o p ra n o

c la r in e t s , b a ss o o n s , and b ass c la r in e t s , then r is e s b r ie f ly in th e a lto

c la r i n e t , and s u b s e q u e n tly d esc e n d s th ro u g h the c o rn e ts and tro m b o n e s

(s e e F ig u r e 2 , p . 3 3 ) . T h e a u th o r has concluded f r o m ( 1 ) e x a m in in g

c o n to u r o f th e p h r a s e , w h ic h is m o s tly d e s c e n d in g , ( 2 ) th e c o m p o s e r 's

d y n a m ic m a r k in g s , w h ic h p ro c e e d fr o m p ia n o to p ia n is s im o , and

( 3 ) th e e ffe c t o f t i m b r e , w h ich a ls o has the e ffe c t o f f a l lin g , th a t a

d e s c re s c e n d o , w h ile no t p o in te d o u t d ir e c t ly by the c o m p o s e r , w ould

be a p p r o p r ia te to r e in f o r c e th e fe e lin g o f th is m o tio n , and has so

in d ic a te d i t in C h a r t 3 , page 3 3 . W ith o u t the b e n e fit o f o th e r d e t a ils ,

th is d e te r m in a tio n b e g in s to in d ic a te p h ra s in g o f th e m e lo d ic r h y th m .

T im b r e . D e c is io n s w ith r e g a r d to id e n tify in g t im b r e ta k e in to

c o n s id e ra tio n th e ra n g e and in d ic a te d d y n a m ic le v e l a ss ig n e d to p a r t i ­

c u la r in s tr u m e n ts . T h e d is c u s s io n o f E x a m p le 4 , page 3 4 , is in te n d e d

to illu s t r a t e th is p o in t. In m e a s u re s 2 9 - 3 0 , the p ic c o lo s and E - f l a t

c la r i n e t d o m in a te the t im b r e b e ca u s e o f th e r e g is t e r in w h ic h th e y a r e

p la y in g and th e d y n a m ic in d ic a tio n . F u r t h e r in v e s tig a tio n o f th is

e x c e r p t r e v e a ls th a t th e p r im a r y m e lo d ic rh y th m is not found in the

lo n g , s u s ta in e d to n e s o f the u p p e r w o o d w in d s, b u t r a t h e r in the

u p w a rd m o tio n c re a te d b y th e saxophones and b r a s s e s . T h e t im b r e

w o uld th e n be in d ic a te d a s p r im a r y ; b ra s s ; and s e c o n d a ry ; u p p e r w ood­

w in d s . T h is k in d o f d e s c r ip tio n can w e ll s e r v e the c o n d u c to r a s he

 33

F ig u r e 2

D e s ce n d in g M e lo d ic L in e in m e a s u re s 1 -4
o f P r is m s .

i h i- /-i. 14 - CW. 1r»t- n k .

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s y n th e s iz e s m a t e r ia l d u rin g th e fin a l s ta g e s o f s c o re p r e p a r a tio n and

p r e p a r e s h im s e lf f o r a c tu a l r e h e a r s a l and p e r fo rm a n c e o f a w o r k ,

m a k in g h im a w a re o f the need to c o n tro l . . . p e rh a p s to a l t e r . . .

d y n a m ic in d ic a tio n s , th e re b y p e r m it tin g p r i m a r y m a t e r ia l to be h e a rd

c le a r l y .

In y e t a n o th e r in s ta n c e i t s e e m s s ig n ific a n t to c o n s id e r the

" . . . n a tu re and fre q u e n c y o f c o n tra s ts w ith in the tim e sp an o f a

 Example 4

M o r to n G o u ld , P r is m s , 1 s t m o v e m e n t,
m e a s u re s 2 7 - 3 0 .
 35
c o m p o s itio n .1,14 O ne m a y o b s e rv e in E x a m p le 3 , page 3 0 , th a t the

s p e c ific t im b r e s h ifts a r e so ra p id th a t o n ly the m o s t g e n e ra l s ta te ­

m e n t s e e m s p o s s ib le . H o w e v e r , th e s ig n ific a n c e o f t im b r e h e re is

in th e v e r y n a tu re o f th e s e ra p id c h a n g e s , w h ic h h e lp to d e fin e the

tw o m e a s u r e p h ra s in g (n o te th e r e p e titio n o f w o o d w in d -b ra s s

g ro u p in g s ).

T e x tu re . T e x t u r e is a n e x t r e m e ly im p o r ta n t c o n s id e ra tio n in

a to n a l l i t e r a t u r e b e cau se i t " . . . r e p re s e n ts th e c o o rd in a te d a c t iv ity

and in te r a c tio n . . . " ^ 5 o f a ll m u s ic a l e le m e n ts . In th is r e g a r d , the

c o n te m p la tio n o f te x tu r e w ith in a p ie c e m a y s e r v e w e ll th e a p p r a is a l

o f fo r m a n d , s u b s e q u e n tly , o f p h ra s in g as d e m o n s tra te d in the m o d e ls

th a t c o m p r is e C h a p te rs I I I th ro u g h V I .

T h e te r m in o lo g y th a t d e fin e s te x tu r e o f m o r e tr a d it io n a l w o r k s ,

such a s h o m o p h o n ic , m o n o p h o n ic , and p o ly p h o n ic , m a y a ls o be used

to d e s c r ib e m a n y o f th e fu n c tio n s o f te x tu r e in a to n a l m u s ic . In

E x a m p le 5 , page 3 6 , the te x tu r e pro d u ced by the c la r in e ts is an

a c c o m p a n im e n t to th e m e lo d ic rh y th m p ro d u ced by the lo w w oodw inds

and s tr in g b a s s . T h is s e c tio n c an be c o n s id e re d as m e lo d y w ith

a c c o m p a n im e n t, th a t i s , hom o p h o n ic in te x tu r e .

In th e adopted v ie w by th is w r i t e r , m e lo d y , h a r m o n y , r h y th m ,

d y n a m ic s , and t im b r e a r e in s e p a ra b le fr o m te x tu r e . A l l o f th e s e

^4 W h it e , T h e A n a ly s is o f M u s ic , p . 161 .

^ R i c h a r d D e L o n e and o th e r s , A s p e c ts o f T w e n tie th -C e n tu r y
M u s ic (E n g le w o o d C l i f f s , N e w J e rs e y : P r e n t ic e - H a l l , I n c . , 1 9 7 5 ), p . 6 7 .
 36

Example 5

M a r t i n M a ilm a n , G e o m e tr ie s N o . 4 ,
m e a s u re s 6 - 8 .

rs<c
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n, 5
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R e p ro d u c e d by p e r m is s io n .
 37
e le m e n ts , w hen p re s e n t in a c o m p o s itio n , in te r a c t to p ro d u ce a

" m u s ic a l fa b r ic " r e f e r r e d to as t e x t u r e . T h e w r i t e r w is h e s to f u r t h e r

s ta te t h a t, in h is v ie w , tim b r e and d y n a m ic s a r e a lw a y s a p a r t o f

te x tu r e b e cau se ( 1 ) a l l sound has a c o lo u r , and (2 ) a ll sound is

p re s e n te d a t s o m e r e la t iv e le v e l o f lo u d n e s s . In th is s c h e m e o f

e v a lu a tio n , p a r t ic u la r te x tu r e m a y c o n ta in m e lo d ic , h a r m o n ic , and

r h y th m ic e le m e n ts , h o w e v e r, i t is c o lo u r and loudness o f th e sound

th a t u ltim a te ly d e te r m in e s its te x tu r e . F o r e x a m p le , c o n s id e r how

d if f e r e n t the te x tu r e o f the passage quoted in E x a m p le 5 , page 3 6 ,

w ould be i f th e s o p ra n o c la r in e ts w e r e m a r k e d f o r t e , o r i f the

m o tiv e s p la y e d by the lo w w oodw inds w e r e p la y e d in s te a d by th e

lo w b r a s s e s . W ith o u t changing th e m e lo d ic , h a rm o n ic , o r r h y th m ic

e le m e n ts the te x tu r e w ould be h e a rd as d if f e r e n t .

S o m e tim e s a c o m p o s e r w i ll c r e a te an e n t ir e w o rk fr o m l i t t l e

e ls e o th e r th a n d y n a m ic -tim b r e p ro d u c e d te x tu r e v a r ia t io n s . Tw o

e x a m p le s o f th is ty p e o f c o m p o s itio n a r e S tu d y in T e x t u r e s , by

G u n th e r S c h u lle r (s e e C h a p te r I V ) , and P r is m , by M o r to n G o u ld .

H a r m o n ic Im p lic a tio n s

T h e la s t s te p o f d e s c r ip tiv e a n a ly s is is p e rh a p s th e m o s t

d if f i c u l t , s in c e h a rm o n y as a c o m p o s itio n a l d e te r m in a n t has b e co m e

le s s im p o r ta n t in tw e n tie th -c e n tu r y a to n a l m u s ic than it w as in e a r l i e r
 38
e p o c h s . F u r t h e r m o r e , a to n a l m u s ic has not y e t pro d u ced an

e s ta b lis h e d h a rm o n ic v o c a b u la r y such as th a t c o n v e n ie n tly a p p lie d to

th e m u s ic o f th e e ig h te e n th and n in e te e n th c e n tu r ie s . T h u s , W h ite

p o in ts to the fa c t th a t

T w e n tie t h -c e n t u r y c o m p o s e rs a r e p e rh a p s le s s
a w a r e o f h a rm o n ic rh y th m m o tio n as an e x p re s s iv e
f a c t o r than w e r e t h e ir p re d e c e s s o rs in th e co m m o n
p r a c tic e p e r io d . T h is is p a r tly due to th e g ra d u a l
d is a p p e a ra n c e o f fu n c tio n a l h a r m o n y . In its p la c e
r h y th m ic in t e r e s t is a c h ie v e d by in c re a s e d r h y th m ic
and c o n tra p u n ta l c o m p le x ity , fr e q u e n t chang es o f
m e t e r , a s y m m e tr ic a l m e t e r s , and o th e r rh y th m ic
d e v ic e s . ^^

T h e r e a r e , h o w e v e r , h a r m o n ic im p lic a tio n s in s o m e a to n a l

band li t e r a t u r e th a t do a id the c o n d u c to r in a r r iv in g a t h is m a c ro ­

v ie w o f the s c o r e . In " G e o m e tr ie s N o . 4 " by M a r t i n M a ilm a n (s e e

C h a p te r I I I ) , th e r e c u r r e n c e o f the s in g le p itc h F - s h a r p s e rv e s to

d e fin e the f iv e s e c tio n s o f the p ie c e . T h is e x a m p le p o in ts o u t th a t

th e id e n tific a tio n o f r e c u r r in g p itc h e s is im p o r ta n t and m a y , in fa c t ,

le a d to th e fo r m u la tio n o f the c o n d u c to r's m a c r o - v ie w .

T h e w r i t e r w is h e s to e m p h a s iz e c a u tio n in id e n tify in g the

fu n c tio n o f id e n tic a l o r s i m i l a r v e r t ic a l p itc h re la tio n s h ip s as those

o f a m o r e t r a d it io n a l h a rm o n ic v o c a b u la ry in c o n tr a s t w ith havin g

a r e la tio n s h ip to t i m b r e - t e x t u r e . In E x a m p le 5 , page 3 6 , f o r in s ta n c e ,

th e v e r t ic a l p itc h re la tio n s h ip s s e r v e the t i m b r e . S o m e tim e s w hen

^ ® D e L o n e , A s p e c ts o f T w e n tie t h -C e n tu r y M u s ic , p . 3 3 3 .

^ A /V h ite , T h e A n a ly s is o f M u s ic , p . 1 21 .
 39
tr a d itio n a l h a rm o n ie s a p p e a r , th e fu n c tio n o f such o c c u rre n c e s c an

be s o m e th in g q u ite o th e r than h a r m o n ic . In E x a m p le 3 , page 3 0 , the

fu n c tio n o f th e tr ia d s is to s e r v e t i m b r e , t e x t u r e , and m e lo d ic

r h y th m , not to denote c o n v e n tio n a l d ia to n ic h a rm o n ic p ro g r e s s io n .

H a v in g d e te rm in e d t h is , th e c o n d u c to r can a r r i v e a t h is m u s ic a l

in te r p r e t a t io n o f th is s e c tio n .

S Y N T H E S I S A N D C O N C L U S IO N

I t is th ro u g h th e second a s p e c t o f th is w r i t e r ' s a n a ly tic a l

te c h n iq u e . . . s y n th e s is and c o n c lu s io n . . . th a t m u s ic a l p r o g r e s s ,

and m o r e im p o r t a n t ly , m u s ic a l in te r p r e t a t io n a r e d e te r m in e d . In

d ra w in g c o n c lu s io n s fr o m d e s c r ip tiv e a n a ly s is the a u th o r w is h e s to

r e e m p h a s iz e th e p u rp o s e o f th e c o n d u c to r: to u n c o v e r m u s ic a l r e s u lts

in s te a d o f m e r e ly d is s e c tin g the c o m p o s e r's c o m p o s itio n a l te c h n iq u e .

D u rin g th is phase o f a n a ly s is , the d e s c r ip tiv e c h a r t , used w ith s c o r e ,

w ill a s s is t in r e v ie w in g r e la tio n s h ip s a s th e y e x is t b e tw ee n s e c tio n s

of a w o rk . T h e s e r e la tio n s h ip s , a s id e n tifie d d u rin g th is a s p e c t o f

s c o re p r e p a r a tio n , w i l l a s s is t th e c o n d u c to r in d e v e lo p in g a sen s e o f

u n ity a b o u t a w o r k ; a sense he can th e n c o m m u n ic a te in p e rfo rm a n c e

th ro u g h h is c o n d u c tin g s k i l l s .

U n ity , w h e th e r o f th e e n t ir e p ie c e o r o f s e c tio n s w ith in the

w h o le , c a n be found th ro u g h c a r e fu l e x a m in a tio n o f th e d e s c r ip tiv e

c h a r t , n o tin g r e p e t it io n , s i m i l a r i t y , v a r ia t io n , d e v e lo p m e n t o r
new n ess o f m a t e r i a l . In d ra w in g c o n clu s io n s a b o u t a to n a l m u s ic ,

th e s ta r tin g p o in t is o fte n th ro u g h th e e x a m in a tio n o f the te x tu r e

c re a te d by m e lo d ic r h y th m . E x a m p le 6 , pages 41 and 4 2 , to g e th e r

w ith C h a r t 4 , page 4 3 , show p h ra s in g th a t has been d e te rm in e d by

ju s t su ch an e x a m in a tio n . G ra d u a l change f r o m a c o n tra p u n ta l

te x tu r e in m e a s u re s 7 2 - 7 7 , to a s in g le e le m e n t te x tu r e in d ic a te d

by th e m e lo d ic rh y th m in m e a s u re s 8 0 - 8 7 , c le a r l y in d ic a te s the

co nd ucting p h ra s e . A m o tio n fr o m te n s io n to re p o s e in the e n tir e

s ix te e n m e a s u re s e c tio n s u b s ta n tia te s a fe e lin g o f p h ra s e u n ity by

re a s o n o f th e s lo w in g dow n o f m e lo d ic rh y th m .

T h e e n t ir e a n a ly tic a l p ro c e s s is illu s t r a t e d in the c h a p te rs

th a t fo llo w . C o m p o s itio n s s u b je c te d to e x a m in a tio n r e p r e s e n t

d if f e r e n t types o f a to n a l band lit e r a t u r e and h o p e fu lly p ro v id e

p r a c t ic a l m o d e ls f o r s c o re p r e p a r a tio n .
 41

Example 6

F is h e r T u l l , S k e tc h e s on a T u d o r P s a lm ,
m e a s u re s 7 2 - 8 7 .

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R e p rin te d by p e r m is s io n .
 Example 6 continued.

Fits.

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 43

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 44

C h a p te r I I I

G E O M E T R IC S N O . 4 . O P . 43
B V M A R T IN M A IL M A N

G e o m e trie s N o . 4 has been s e le c te d as th e f i r s t a n a ly tic a l

m o d e l b e c a u s e , in th e v ie w o f th is w r i t e r , th e use o f th e e le m e n ts
I
d is c u s s e d in C h a p te r I I c an be c le a r ly illu s t r a t e d w ith in i t . S p e c if­

i c a l l y , th e d is tin g u is h a b ility o f h a rm o n ic im p lic a tio n s and te x tu r e in

th is w o r k p ro v id e th e a u th o r w ith an a c c e s s ib le d e m o n s tra tio n o f h is

a n a ly tic a l te c h n iq u e .

A g ra p h ic d e p ic tio n o f f o r m a l s tr u c tu r e in G e o m e tr ie s N o . 4

( F ig u r e 3 , b e lo w ) is o ffe r e d in o r d e r to a c q u a in t th e r e a d e r w ith th is

F ig u r e 3

G ra p h o f th e F o r m a l S t r u c t u r e in
G e o m e trie s N o . 4

S e c tio n A B C

M e a s u re s 1 -2 1 2 2 -3 2 3 3 -3 6 3 7 -5 7 58

H a r m o n ic
Im p lic a tio n s F# U n s ta b le f # U n s ta b le F#

S e c tio n D E

M e a s u re s 5 9 -9 6 9 7 -1 0 0 1 0 1 -1 1 2 1 1 3 -1 2 0

H a r m o n ic
Im p lic a tio n s U n s ta b le F# U n s ta b le F#
 45
w r i t e r ' s p e r s p e c tiv e o f th e w h o le p ie c e . T h is " m a c r o - v ie w " is th e

r e s u lt o f h a vin g c o n s tru c te d a d e s c r ip tiv e c h a r t ( C h a r t 5 , pages 4 6

th ro u g h 5 3 ) and s u b s e q u e n tly re v ie w in g th e in fo r m a tio n c o lle c te d in

f u ll v ie w o f th e s c o r e . S u p p o rtin g e v id e n c e f o r th is m a c r o - v ie w o f

1 ft
f o r m is p re s e n te d w ith in th e s y n th e s is o f d e s c r ip tiv e a n a ly s is .

S Y N T H E S I S O F D E S C R IP T IV E A N A L Y S IS

T h ro u g h c a r e fu l r e v ie w o f th e in fo r m a tio n c o lle c te d on the

d e s c r ip tiv e c h a r t (p a g e s 4 6 th ro u g h 5 3 ) , the w r i t e r has b e c o m e a w a r e

o f M a ilm a n 's re p e a te d c o m p o s itio n a l u se o f u n its r e fle c tin g the

n u m b e rs f o u r and f i v e . F o r e x a m p le , the m e t e r a t th e -b e g in n in g o f

5
th e p ie c e is 4 , the open in g m o tiv e in m e a s u r e s 1 and 2 (s e e E x a m p le

7 , page 5 5 ) is a fiv e note fig u r e p la y e d by the c h im e s , and in m e a s u re s

7 th ro u g h 10 (s e e E x a m p le 7 , pages 56 and 5 7 ) a te x tu r a l b a ck g ro u n d

is s c o re d u s in g fiv e s e p a ra te s o p ra n o c la r i n e t p a r ts in a q u in tu p le t
4
r h y th m . T h e o n ly chang e o f m e t e r in th e p ie c e , to 4 , o c c u rs in

m e a s u r e 101 (s e e E x a m p le 1 1 , page 8 8 ) a n d , in th e v ie w o f th e w r i t e r ,

p ro v id e s f u r t h e r s u p p o rt f o r th e s ta te m e n t r e g a r d in g the n u m b e rs fiv e

and f o u r . O b s e rv a tio n s such as th e s e m e n tio n e d , h a ve in flu e n c e d the

w r i t e r 's p e r s p e c tiv e d u rin g th e p ro c e s s o f r e v ie w in g in fo r m a tio n

w h ic h s e r v e s d e s c r ip tiv e a n a ly s is .

18
T h is s a m e p ro c e d u re has a ls o been fo llo w e d in th e p re s e n ta ­
tio n s o f C h a p te rs I V th ro u g h V I .
 46

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 54

S e c tio n A ; m e a s u re s 1-21

T h e c o n d u c to r m a y d is tin g u is h f o r the lis t e n e r th e u n ity o f

th e s e tw e n ty -o n e m e a s u re s (E x a m p le 7 , pages 5 6 - 6 0 ) by e m p h a s iz in g

th ro u g h e n s e m b le b a la n c e and p h ra s in g ( 1) re p e a te d o c c u rre n c e s o f

the p itc h F - s h a r p , (2 ) th e s im p lic it y o f t im b r e and t e x t u r e , and

(3 ) the fr e q u e n t a p p e a ra n c e o f r h y th m ic and m e lo d ic u n its based on

th e n u m b e r f i v e . In the v ie w o f the w r i t e r th e r e is " m a c r o - v ie w "

s ig n ific a n c e a tta c h e d to c r e a tin g a s e n s e o f fiv e note g ro u p in g s and

e s ta b lis h in g F - s h a r p as the im p o r ta n t p itc h . T h ro u g h o u t th e w r i t e r 's

d is c u s s io n o f th is p ie c e fiv e note g ro u p in g s a r e illu s t r a t e d a s th e y

s e r v e to d e fin e p h ra s e s . E m p h a s is o f the p itc h F - s h a r p , p a r t ic u la r ly

as s c o re d f o r the c h im e s in m e a s u re s 1 -2 (p ag e 5 6 ) and 21 (page 6 0 )

p ro v id e a fr a m e w o r k fo r s e c tio n A and b o u n d a rie s th a t d e fin e a ll

s u b se q u e n t s e c tio n s .

M a ilm a n has s c o re d t im b r e and te x tu r e in a c le a r and s im p le

m a n n e r th ro u g h o u t th is s e c tio n , a lte r n a tin g p e rc u s s io n , b r a s s , B

s o p ra n o c la r in e t s , lo w w o o d w in d s , and u p p e r w o o d w in d s . T h e one

e x c e p tio n to s im p lic it y o c c u rs in m e a s u re s 7 - 1 0 (p a g e s 57 and 5 8 ).

u
H e r e , in d ic a te d b y d y n a m ic s , te x tu r e c r e a te d by th e s c o rin g f o r B

s o p ra n o c la r in e ts s e r v e s a s an a c c o m p a n im e n t to th e lo w w o o d w in d s .

C o n s id e rin g t im b r e , the m e lo d ic rh y th m o f th e s e m e a s u r e s s e e m s to

in d ic a te th a t a fo u r - m e a s u r e p h ra s e f o r a lo w w oodw inds is a p p r o p r ia t e .
 55

W ith th is s a m e r e g a r d f o r t i m b r e , the b ra s s and p e rc u s s io n p h ra s in g

in m e a s u re s 11 - 5 5 (p a g e s 5 8 - 5 9 ) r e fle c ts g ro u p in g s o f fiv e notes o r

b e a ts .
 Example 7

M a r t i n M a ilm a n , G e o m e trie s N o . 4 ,
m e a s u re s 1- 2 1 .

Geometries No. 4
MAP TtK MAILMAN
Ou 43

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R e p ro d u c ed by p e r m is s io n .
 57

Example 7 continued.

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B d .4 M
Example 7 continued.

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'

.— z_-r- , i . r : j = z - ^ ^ x ^ z ^ ^ z r z z s z z . - r

f&szrtr.attest -^==r.r===^— r-

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0k Catrb.

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Example 7 continued.

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bit.

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 60

Example 7 continued.

A
Fb.

Ob.

,/ ^««• i i
s~T~ i - 1

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Bb Ba.
.Bfc Cnlrb.

Ban.

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Trbnt.

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Ttaip. m

, (Bobko*)

M420
S e c tio n B: m e a s u re s 2 2 - 3 6

T h is s e c tio n is m a rk e d by w h a t s e e m s to be a d e v e lo p m e n t o f

the fiv e -n o te m o tiv e p re s e n te d in S e c tio n A . E x a m in a tio n o f th e m e lo d ­

ic rh y th m b eg in n in g in m e a s u re 2 2 (d e s c r ip tiv e c h a r t , page 4 7 ), show s

a rh y th m ic te x tu r e c r e a te d out o f s h o r t m o tiv ic exchanges b e tw ee n tw o

d is tin c t g ro u p s o f in s tr u m e n ts . F o r th e p u rp o s e o f m a k in g a d e c is io n

w ith re g a r d to the fu n c tio n o f th is te x tu r e , th e w r i t e r w is h e s to p o in t

o u t the high w oodw ind e n tra n c e in m e a s u re 2 5 (E x a m p le 8 , page 6 3 ) .

I t s e e m s th a t th is lin e , b e ca u s e o f t im b r e , lo n g e r note v a lu e s , and

l a t e r , d y n a m ic s , is the p r im a r y m e lo d ic m a t e r i a l . T h u s c o n c lu d e d ,

th e c o n d u c to r c a n , by c a r e fu l a tte n tio n to d y n a m ic b a la n c e , c o n tro l

th e rh y th m ic te x tu r e as an a c c o m p a n im e n t and m a k e p r o m in e n t, th e

lon g m e lo d ic lin e in u p p e r w o o d w in d s.

In m e a s u r e 3 3 (p a g e 6 5 ) the u p p e r w oodw inds re a c h the p itc h

o f F -s h a rp . A t th is p o in t, M a ilm a n b rin g s th e c h im e s b a ck w ith the

sam e F -s h a rp . V ie w e d in the p e rs p e c tiv e o f e a r l i e r r e m a r k s m ade

c o n c e rn in g the s t r u c t u r a l im p o rta n c e o f th is p itc h , i t w ould a p p e a r

th a t a s tro n g fe e lin g o f c ad en ce w e r e in o r d e r . H o w e v e r, the

c o n tin u a tio n o f th e a cc o m p a n in g r h y th m ic te x tu r e c o n tin u e s f o r tw o

m o r e m e a s u r e s , f i n a l ly s u p p o rtin g a c ad en ce in m e a s u re 3 5 (p ag e 6 6 )

by r e in f o r c in g , in r h y th m ic u n ity , th e p r i m a r y lin e w ith a q u a r t e r

note t r i p l e t in m e a s u re 3 4 (page 6 5 ). T h e in te r p r e t a t io n o f th is w r i t e r

in d ic a te s a fe e lin g o f c re s c e n d o in the u p p e r w oodw inds th ro u g h m e a s ­

u r e s 3 3 and 34 (page 6 5 ) in o r d e r to le a d and e m p h a s iz e the cadence

 62

in m e a s u re s 3 5 and 3 6 (p ag e 6 6 ) . F u r th e r m o r e a s lig h t rita rd a n d o

on th e la s t b e a t o f m e a s u re 3 6 s e e m s a p p r o p r ia te to r e in f o r c e the

c re s c e n d o and to p r e p a r e th e te m p o change in m e a s u re 3 7 .
 63

Example 8

M a r t i n M a ilm a n , G e o m e trie s N o . 4 ,
m e a s u re s 2 2 - 3 9 .

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.r
«/
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ft

=.T~
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ft 2

ft ft.
.ft Cntrb.

rft A**© ^=r—r^==Sy^5 tj^S..:

| Bb> Ten. aifliy &asraJ^

3
i3E3Fr3HH: ig*
y w P r>
/ f t e.‘ j i * t n iw> ^ _____ ■»___________________ i
_

UTpU

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z z n r ftiz
r^ - ~ .. i p f -*• - l p y — f=
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^ T-VS’;l-,f..'' A -:f l."-::7-" ':'K7l-f'/ I .1" : ,-v f •■£-:'r“i-.-!'':'

Tub.

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limp.

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m
m m T tT ^
E x a m p le 8 c o n tin u e d .
E x a m p le 8 c o n tin u e d .
 66

Example 8 continued.

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f-r*r-7:

iliiS tv,:
A i ,l*r' Y.-V’ P V |
si#'?;
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tip -7: J
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 67

S e c tio n C : m e a s u re s 3 7 - 5 8

In a d d itio n to the c o m p o s e r's w r it t e n in d ic a tio n , " A l i t t l e

s lo w e r " (E x a m p le 9 , page 6 8 , m e a s u re 3 7 ) , the c o n d u c to r's in t e r p r e ­

ta tio n h e re is a g a in guided by e x a m in a tio n o f te x tu r e . T h e s u s ta in e d

tones o f the w o o d w in d s, re in fo r c e d by th e v ib ra p h o n e , to g e th e r w ith

th e s lig h t r h y th m ic m o tio n o f b o n g o s -tim b a le s , p ro v id e a s o ft,

u n d u la tin g te x tu r e o v e r w h ich is h e a rd the long m e lo d ic lin e p la y e d

by p ic c o lo and a lto saxophone (c o lo re d by the g lo c k e n s p ie l) begin n in g

in m e a s u re 38 (p ag e 6 8 ) . F u r t h e r in d ic a to r s f o r th e p h ra s in g o f th is

s e c tio n a r e : ( 1) tw o f iv e - m e a s u r e p h ra s e s found by e x a m in in g the m e ­

lo d ic rh y th m in m e a s u re s 3 8 th ro u g h 4 7 (p a g e s 6 8 -7 0 ); ( 2 ) th e change

o f t im b r e (and te x tu r e ) f r o m w oo d w in d s to b ra s s in m e a s u re s 4 7

th ro u g h 5 2 (p a g e s 7 0 - 7 1 ) ; and (3 ) th e r e t u r n o f w oodw ind t im b r e (now

w ith th e h o rn ad d ed ) in m e a s u re s 5 2 th ro u g h 57 (pages 7 2 - 7 3 ) . T h is

s y m m e tr y m a k e s f o r b alan c e d c onducting p h ra s e s ; h o w e v e r , in th e

v ie w o f th is o b s e r v e r , the c re s c e n d o in m e a s u re 5 7 (p a g e 7 3 ) should

h ave an u rg e n c y ab o u t i t in o r d e r to c le a r ly e m p h a s iz e th e r e tu r n to

F - s h a r p in m e a s u re 5 8 (p ag e 7 3 ). In th is v e in , the w r i t e r w ould

s u g g e s t th a t th e "poco a c c e l. " not ta k e p la c e u n til a f t e r th e d o tted h a lf

no te F - s h a r p (m e a s u r e 5 8 ) has a tta in e d s u ffic ie n t im p o r t , p e r m it tin g

its s tr u c tu r a l im p o rta n c e to be r e c a lle d . T h e a c c o m p lis h m e n t o f th is

is l e f t to the m u s ic a l d is c r e tio n o f e a c h c o n d u c to r.
 68

Example 9

M a r t i n M a ilm a n , G e o m e tr ie s N o . 4 ,
m e a s u re s 3 5 - 6 0

A lillle slower A* r —

•» rv

..BVCotrb

137) a little slower

BVTpts

Hits, in F

Tuba

Tbnp.

33*.
A. *-=•- I V- 5f=v

w = % g £ S # S ' = ■ - « ' - < ; ii“ :

j/
r*»*.'

to
I«w ■f«n <« if * ■„#
*Fiara/)AoHcopfi<wwi
Bd.426
E x a m p le 9 c o n tin u e d .
 70

9 continued

l.
ntob

l*o

FA.

ir.

i
2
3
4

I
2
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3
4

I
2

3
E x a m p le 9 c o n tin u e d .
 72

Example 9 continued.

!**<••<ext (yi) i
■* M frm|*c> I («l » 96 * |(Xt|
JiKe

P i. •'
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Ft

f. r;/ .
7
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r
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i
Bk Re.
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|_ E k B «.

____ [59) T fw « I J . nn • im L

Bk Tpl>

! * ■ « •.L
b p i>>»'*ft"
*r -
mf
? ki* ‘
bp .Vk’n-*f)«

ff y. Or
mf

Tuba

81$.■*.
Tlmp.
po cu » r r rl.
Own
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rue, 2m m m • y .r : Jw i: -- I ___________ _

B d .4 2 #
 73

S e c tio n D : m e a s u re s 5 9 -1 0 0

T h e r e s u lt o f r e v ie w in g th e d e s c r ip tiv e a n a ly s is c h a r t and s c o r e

o f th e s e fo r t y - o n e m e a s u r e s , to g e th e r w ith a g ro w in g c o n v ic tio n th a t

the c o n s tru c tio n o f th is p ie c e is ind eed in flu e n c e d by u n its o f f i v e , has

le d the w r i t e r to fe e l th is long s e c tio n as a d e v e lo p m e n t o f a ll the

m o tiv ic e le m e n ts p re s e n te d thus f a r . W h ile s y n th e s is , in th is lig h t,

m ig h t le a d e ach c o n d u c to r to h is own unique tr e a tm e n t o f th e m a t e r ia l

h e r e , the p r e s e n t w r i t e r w is h e s to e x p re s s h is own in te r p r e ta tio n o f

th is s e c tio n in te r m s o f h is c o n clu s io n s r e g a r d in g c o nducting p ro c e ­

d u re . (T h e r e a d e r is u rg e d to r e la t e th is d is c u s s io n to E x a m p le 1 0 ,

pages 76 th ro u g h 8 6 . )

A t th e o u ts e t, i t is noted th a t the c o m p o s e r has in d ic a te d , a t

le a s t b y the te m p o m a r k in g in m e a s u re 59 (page 7 6 ), th a t a new s e c tio n

has b e g u n . M e a s u r e s 59 th ro u g h 6 8 (p a g e s 7 6 - 7 8 ) a re s h o r t a lt e r n a ­

tio n s o f m o tiv e s w h ic h a p p e a r e a r l i e r , e a c h e m p h a s iz e d w ith change

o f tim b r e . T h e s e m o tiv e s c r e a te e s s e n tia lly , a s in g le m e lo d ic rh y th m

(s e e C h a r t 5 , pages 4 9 and 5 0 ) and in so doing can be tr e a te d by the

c o n d u c to r as one lo n g , r h y th m ic a lly a c tiv e p h r a s e . M o tio n c re a te d by

th e tw o m e lo d ic rh y th m s a t m e a s u re s 6 9 and 70 (page 7 9 ) , to g e th e r

w ith th e w h o le note F - s h a r p in m e a s u r e 7 0 , m ig h t s e e m to im p ly a

f u ll c ad en ce (r e c a llin g th e s t r u c t u r a l im p o rta n c e o f F - s h a r p ) . T h e re

a r e , h o w e v e r , re as o n s l o r not im p a r tin g m o r e than a fe e lin g o f b r i e f

re p o s e h e re : ( 1) th e re is no r e tu r n o f the c h im e s ; and ( 2 ) the c r e ­

scendo s e e m s to in d ic a te fo r w a r d m o tio n .
 74

T h e v ig o r o f th e d y n a m ic m o tio n a p p e a rs to be in te r r u p te d by

the a p p e a ra n c e o f a q u ie t, r e g u la r rh y th m b e g in n in g in m e a s u r e 71

(page 7 9 ). T h ro u g h m e a s u re 81 (page 8 1 ), th e c o n d u c to r needs to

e x e r c is e c o n tro l to p r e s e r v e the d y n a m ic s in d ic a te d by the c o m p o s e r,

th e r e b y p e r m ittin g th e f u r t h e r d e v e lo p m e n ts o f s h o r t m o tiv e s to be

h e a rd . T h e r e g u la r it y and s o ftn e s s o f the m a r c h - lik e p u ls e h e re

im p lie s a c a lm e r s e ttin g in w h ic h th is d e v e lo p m e n t c o n tin u e s .

In m e a s u re s 82 th ro u g h 88 (pages 8 1 - 8 3 ) th e c o m p o s ite c r e s c e n ­

d o , in d ic a te d by th e c o m p o s e r's d y n a m ic m a rk in g s and h is in s tru c tio n

in m e a s u re 8 4 (page 8 2 ) f o r th e tr u m p e ts to p la y " o p e n ," to g e th e r w ith

a m o r e u n ifie d m e lo d ic rh y th m and s tro n g ly d e fin e d t im b r e s , s e e m to

fo r e c a s t the m a je s tic s e c tio n th a t is to fo llo w . Th ese seven m e a s u re s ,

t h e r e f o r e , a r e tr e a te d w ith a sense o f d r iv e to m e a s u re 89 (page 8 2 ).

M e a s u r e s 89 th ro u g h 9 6 (pages 8 2 - 8 6 ) a r e a bold and p o w e rfu l

r e p e titio n o f m e a s u re s 6 - 1 0 (E x a m p le 7 , pages 5 7 - 5 8 ) . S e t a g a in s t

th e w oodw ind t e x t u r e , th e b ra s s and p e rc u s s io n p a r ts need to be f e l t as

one long p h r a s e . T r e a t in g th ese e ig h t m e a s u re s in th is m a n n e r w i ll

p r e v e n t th e m fro m s e e m in g lik e a fin a l c a d e n c e , and c r e a te m o tio n to

th e fo r c e fu l c ad en ce on F -s h a r p in m e a s u re s 9 7 - 1 0 0 (p a g e 86) . The

w r i t e r w is h e s to p o in t ou t th a t, u n lik e m e a s u re 7 0 (page 79) in th is s e c ­

tio n , the c h im e s r e tu r n h e re and in so d o in g , m a r k th is as the c lo s e o f

s e c tio n D . T h e c o m p o s e r in d ic a te s the te m p o h e r e as " F r e e l y . "

A c c o rd in g to th is p r e s e n t in te r p r e t a t io n , the c o n d u c to r w o u ld s e e k to
e r a s e the s tro n g m e t r ic fe e lin g o f fiv e in p r e p a r a tio n f o r the

th a t f o llo w s .
 Example 10

M a r t i n M a ilm a n , G e o m e trie s N o . 4 ,
m e a s u re s 5 7 - 1 0 0
_(i9)
J
Tem pi. I < ■ 96 - 1001

■m - M M T .» l

Ek
pi<co a tc tl.

-Hr-. i
f
! Bk 1

Bk Be.
Bk Cntrb. ... j.
-ferr?L:

Bsn. iS f t s s is S ila ^ j

P Ek Alto t f .. ~ fk f-
I
£ Bk Ten.

3
|_ E k B « .

__________________* « » « " » < ______ ( ® ) t e .n p o l (J ^ 9 6 - 1001

B k tp u
 77

Example 10 continued.

Ret.
w - -. -

Fb.

Ob.

.Bb Cntrb.

B n.

Trbm.

h. m

m
E x a m p le 10 c o n tin u e d .
 79

Example 10 continued.

B t Cntrb

\ __A___*__4

ED
B* Tpt*.

Tuba

Stg. Bb.
^ 3 J> V-.M *' i,;-‘ , / V - ’ ^ 4: ^ ^ 4> *, j>V*;j
Dnp. m

■
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 80

Example 10 continued.

t e P i .1• j r . r J t
mf

m f

h
l f*
I ~ 3 S ^ vJSi^J S :

l-fr?g-J-r:^-r.t3a? t/4:^ :t-ilgg=g~==

,^? r-saiSSF^f

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tn f
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TW

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rf:p ^ r ,.-f -r-
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Example 10 continued.

rice.
mf

mf

Ob.

8b 8*.
Bb Cntrb.

f E b A lio

£ Bb Ten.

3
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Trbnt.

3t i

lim p .

sfasfeKjpEavfere
r .:^ ^ 3 - — :- - “ J - r ~ - / 'l t- .J 'l -J'
t il
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E x a m p le 10 c o n tin u e d .
 83

Example 10 continued.

PI
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C t llr & & -t£ j£ r L ^ eS W ^;j
/ " 3 ................... 3 3 '''" 3 3

Ob. ££&£T
/ 3 3 3 3 3

Eb k'ZL'ki' £££■

! Bb 2
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Bb Ba.
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r-&rj^=i==
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E Bk Ten.

IM
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Bk TpU.

^ . , ?, ef , f

« Iig ^ 5 = a g = = £ ^ ^ ? it ~ l:

Ibte m= ,i . :i

Si#, fa. ii:.

Tbnp.

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~j-~.
ifff . . . ...
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 84

Example 10 continued.

Kcc.

hU I J; - • - i . '
j ...... i i j r
Oi*.
5 J
**fSE?-£E££TE£fiK£^_
5 3 5 S

rj cbbti.

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r EVAIIn
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Bl Tpts. /»>

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 85

Example 10 continued.

Fkc, ^ f '3 ~ • . . - .V ^ r '." -. . • : . ’ ' :- : 'j r

Fb. . 5 -..' ..• 5 ...: |. .. 5': .- -•-• ~ 3T - - -J -- - - • 4 : - - - . r - i ----------

•* - - .r -- ••• j ■ 3 -• '- '• 5 -

f r ^ f
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-
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ESfierteter^ir-
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5 3 3 3 3

t i i Bt.
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feta.

TskAlto " z&t u m-44 v r t& 4f4*5£t,_

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T v * p . r - r C r ; * . 5 t.J’ :
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mm
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E x a m p le 10 c o n tin u e d .
 87

S e c tio n E : m e a s u re s 1 0 1 -1 2 0

T h e change o f m e t e r and te m p o , to g e th e r w ith a c o n tra p u n ta l

te x tu r e s ig n ify the b e g in n in g o f th is fin a l s e c tio n . P h ra s e m o tio n is

in d ic a te d f o r tw e lv e m e a s u re s b e cau se o f the g e n tly d e c lin in g q u a r t e r

note o s tin a to rh y th m s c o re d f o r b a s s o o n s , tu b a s , s tr in g b a s s , and

tim p a n i (E x a m p le 1 1, pages 8 8 - 9 1 ) . T h e tr u m p e ts , tro m b o n e s , and

c h im e s add to th is m o tio n , w h ile the h o rn s (p lu s te n o r s a x ) and u p p e r

w oodw inds (p lu s g lo c k e n s p ie l) p la y o u t, in a c o n tra p u n ta l m a n n e r,

t h e i r m e lo d ic lin e s . D y n a m ic b a la n c e is im p o r ta n t h e re to in s u re

th e m u s ic a l e ffe c t ju s t d e s c r ib e d .

M e lo d ic lin e s and a c c o m p a n im e n t r e s o lv e s im u lta n e o u s ly to

F - s h a r p in m e a s u r e 113 (page 9 0 ) . H e re the c o n d u c to r w i l l w a n t to

k ee p a s e n s e o f fo r w a r d m o tio n th ro u g h th e lo n g , s u s ta in e d F -s h a r p s

so th e m o tiv e s s c o re d in th e tro m b o n e s and p e rc u s s io n do not a p p e a r

s ta g n a n t.

T h e w r i t e r w is h e s to u rg e c au tio n in the c o n d u c to r's tim in g o f

th e f e r m a t a and pause in m e a s u re 119 (page 9 1 ) . T h e m o tio n h e re is

o f th e G d escen d in g to th e fin a l F # and i t is l e f t to e a c h c o n d u c to r to

p r e s e r v e th is e ffe c t. W h e n th e la s t s o n o rity is re a c h e d , the a u d ito r 's

sen se o f c o m p le te n e s s r e lie s on the p re d o m in a n c e o f F # , e v e n though

i t is s e t as both fo u r th and f ift h w ith the note B . A tte n tio n to M a ilm a n 's

s k illf u l s c o rin g w ith o u t a lt e r a tio n w ould s e e m a ll th a t is n e c e s s a ry to

a c h ie v e th is .
 Example 11

M a r t in M a ilm a n , G e o m e trie s N o . 4 ,
m e a s u re s 1 0 1 -1 2 0
Slow (J-6 0 )
E x a m p le 11 c o n tin u e d .
E x a m p le 11 c o n tin u e d .
 91

Example 11 continued.

*»' j*s
£ £ ,
I T V. ; . ; t J r . ..!• 'V T - - - . .
»Jl ~ 5*?
i Z ^ h e
a
i'b.:'¥- ..• -- — ■
Ob.
B ¥ :&
i»3r “
EV /'■-•• -'.£ W .
o
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m o
£*r.'. __ _________ ." Ift

40 ;-^ : h

B!> Bs. > v: / ~ ^ ' j v " •; •

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ft
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Wv1—-.W
;\ v r S . . K : //V r :Cf1—VJ f ^ 0 ^ */ ^
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lm
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 92

M A C R O - V IE W

S y n th e s is o f the d e s c r ip tiv e a n a ly s is has p ro m p te d th e w r i t e r to

c e r t a in m a c r o - v ie w c o n clu s io n s about G e o m e trie s N o . 4 . These

c o n clu s io n s a r e p re s e n te d h e r e as an a id to the c o n d u c to r's m u s ic a l

in te r p r e ta tio n o f th is p ie c e .

T h e o rg a n iz a tio n o f G e o m e trie s N o . 4 , w h ile a to n a l by d e fin i­

tio n , is in flu e n c e d by the p itc h F - s h a r p . T o g e th e r w ith te x tu r a l

c o n s id e ra tio n s , the p ie c e can be v ie w e d as a fiv e -s id e d g e o m e tr ic a l

fig u r e . . . a pentagon . . . w ith each o f the s id es d is tin g u is h e d by

cad ence points on F - s h a r p . F ig u r e 4 b e lo w , illu s t r a t e s th is v ie w .

F ig u r e 4

G e o m e tr ic S hap e o f G e o m e trie s N o . 4

<r>
 Tine w r i t e r w is h e s to e m p h a s iz e th a t the sound o f M a ilm a n 's

pentagon is b u ilt in te m p o ra l s p a c e r a t h e r than p h y s ic a l s p a c e , and

t h e r e f o r e , th e s id e s , o r s e c tio n s , a r e m a rk e d by the passage o f t im e ,

b e c o m in g lin e a r in e ffe c t. T o a s s is t th e c o n d u c to r in his ta s k o f

p re s e n tin g a c o h e re n t p e r fo r m a n c e , the w r i t e r suggests a tte n tio n to ,

te x tu r a l d iffe re n c e s and cadence po in ts d e fin e d by F - s h a r p as a m ean s

o f p re s e n tin g an a u d ito ry p en tag o n .

 94

C h a p te r I V

S T U D Y IN T E X T U R E S
BY GUNTHER SC H U LLE R

S tu d y in T e x tu r e s illu s t r a t e s th e w r i t e r ’ s v ie w th a t the com po­

s ite e ffe c t o f m e lo d y , h a r m o n y , r h y th m , d y n a m ic s , and t im b r e can

be used to c r e a te te x tu r e . F u r t h e r m o r e , the te m p o r a l r e la tio n s h ip s

am ong th e v a r io u s te x tu re s in th is p ie c e m a y be a u d ib ly p e rc e iv e d as

a p ro g re s s io n o f e ve n ts and c a n , t h e r e f o r e , be notated a s m e lo d ic

r h y th m . E x a m in a tio n o f th is m e lo d ic rh y th m (s e e D e s c r ip tiv e

A n a ly s is C h a r t , p ages 1 0 1 -1 0 6 ) has le d th e a u th o r to c e r t a in c o n c lu ­

s io n s ab o u t th e la r g e and s m a ll s c a le f o r m a l re la tio n s h ip s th a t e x is t

w ith in th is p ie c e . T h e s e re la tio n s h ip s have p ro v id e d the b a s is f o r

th e in te r p r e ta tio n p re s e n te d h e r e .

T h e w r i t e r ’s m a c r o - v ie w o f S tu d y in T e x tu r e s in d ic a te s th r e e

la r g e s e c tio n s ( F ig u r e 4 , page 9 5 ) d is tin g u is h e d by the d if f e r e n t

m a n n e rs in w h ic h S c h u lle r p re s e n ts the p ro g re s s io n o f t e x t u r a l e v e n ts .

W h ile s im i l a r it ie s b etw een the f i r s t and la s t s e c tio n s a r e d is c u s s e d ,

the a u th o r fe e ls th a t c la r i t y o f d is c u s s io n is s e rv e d by la b e lin g th e s e

s e c tio n s A , B , and C . In the s am e v e in , s m a lle r u n its h a ve been

id e n tifie d w ith in e ac h s e c tio n in o r d e r to c le a r ly d e m o n s tra te the

w r i t e r 's c o n c e p t o f m o tio n and re p o s e .

 95

Figure 5

M a c r o - V ie w o f S tu d y in T e x tu r e s

S e c tio n A B C

M e a s u re s 1 -2 2 2 3 -7 6 7 7 -8 7

In th e d is c u s s io n th a t fo llo w s , the r e a d e r w ill b eco m e a w a re o f

r e fe r e n c e s to " te x tu r a l l a y e r s . " T h is t e r m is used to in d ic a te a s t r a t ­

ific a tio n o f t e x tu r e s , v is ib le as s u c lv in the s c o r e , and m o re im p o r ­

ta n t ly , p e r c e iv a b le by the a u d ito r . T h e w r i t e r 's in te r p r e ta tio n o f th is

w o r k r e fle c ts h is o b s e rv a tio n th a t S c h u lle r o v e rla p s and b u ild s up

unique te x tu r e s in o r d e r to p ro d u c e m o re c o m p le x te x tu re s (s e e

A p p e n d ix C , page 233 f o r the c o m p o s e r’s c o m m e n t on th is p o in t).

F o r e x a m p le , in m e a s u re 7 0 (E x a m p le 1 3, page 126) the o v e rla p p in g o f

te x tu r e s s c o re d f o r tro m b o n e s , E *3 c o n tra b a s s c la r in e t s , flu te s , and

a lt o - 3 r d c la r in e t s , m a y be v ie w e d a s the p ilin g up of r e la t iv e ly s im p le

te x tu r e s in o r d e r to p ro d u c e a c o m p le x e ffe c t. T h e D e s c r ip tiv e A n a ly s is

C h a r t w h ic h a c c o m p a n ie s th is c h a p te r in d ic a te s on lin e th r e e v a rio u s

la y e r s o f te x tu r e in o r d e r to illu s t r a t e th is p ilin g up p ro c e s s . T h is

c h a r tin g r e p r e s e n ts , in a lin e a r fa s h io n , m o tio n th a t r e s u lts fr o m th e

p r o g r e s s iv e e n tra n c e s o f d if f e r e n t t e x tu r e s . C o n s id e ra tio n o f the

d if f e r e n t la y e r s o f te x tu r e has le d d ir e c t ly to the w r i t e r 's m a c r o - v ie w

c o n c lu s io n s .
 96

SY N TH E SIS O F D E S C R IP TIV E A NA LYSIS

T h e a u th o r w is h e s to e m p h a s iz e th a t no a tte m p t has been m ad e

h e r e to r e p o r t th e m ic ro s c o p ic e x a m in a tio n o f the c o m p o s itio n a l

m a n ip u la tio n s used (b y S c h u lle r ) in S tu d y in T e x tu r e s w h ic h p ro v id e d

h im w ith the b a ses f o r h is m a c r o - v ie w . T h e p r im a r y c o n c e rn o f th is

d is c u s s io n is w ith the re la tio n s h ip s th a t e x is t am ong v a r io u s te x tu r a l

e v e n ts so f a r as k now ledge o f those re la tio n s h ip s p ro v id e s a s s is ta n c e

to th e c o n d u c to r in d e v e lo p in g his in t e r p r e t a t io n . F u r t h e r m o r e , the

p u rp o s e o f th is c h a p te r is to d e m o n s tra te m o tio n and re p o s e w ith in

th is s e e m in g ly c o m p le x w o r k , and not to d e s c r ib e the c o n s tru c tio n o f

in d iv id u a l t e x tu r e s . T h e r e a d e r is re m in d e d th a t m e lo d ic rh y th m has

been notated on th e D e s c r ip tiv e A n a ly s is C h a r t to id e n tify the m o tio n

c re a te d th ro u g h th e p ro g re s s io n o f te x tu r a l e v e n ts . B e c au s e the te x ­

tu re s a r e o fte n c o m p le x the w r i t e r w is h e s to f a m i li a r i z e the r e a d e r

w ith th e unique s y m b o ls used on th is c h a r t .

 97

Figure 6

S y m b o ls Used in the D e s c r ip tiv e

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S e c tio n A ; m e a s u re s 1 -2 2

In te r p r e ta tio n o f th is f i r s t s e c tio n (E x a m p le 1 2 , pages 1 0 7 -

112) , is the r e s u lt o f c o n s id e rin g te x tu r a l la y e r s fo r m e d o u t o f t im b r e ,

h o r iz o n ta l and v e r t ic a l g ro u p in g s o f c h r o m a tic s , and c o m p le x rh y th m s .

M o tio n and re p o s e is d is c u s s e d a s d e te rm in e d th ro u g h th e w r i t e r 's

re c o g n itio n o f S c h u lle r 's tr e a tm e n t o f th e s e te x tu r a l l a y e r s . The

r e s u lta n t conducting p h ra s e s h a ve been m a rk e d on the D e s c r ip tiv e

A n a ly s is C h a r t (pages 9 8 - 1 0 0 ) .

M e a s u re s 1 -6 . M o tio n in th is opening sequence s e e m s to be

th e r e s u lt o f ( 1) th e sequence o f te x tu r a l la y e r s in m e a s u re s 1 -2 (page

1 07 ), ( 2 ) r a p id ly d esc e n d in g c h r o m a tic lin e s in m e a s u re s 3 - 6 (pages

107 & 108), and (3 ) th e c o m p le x ity o f rh y th m ic p a tte rn s in m e a s u re s

3 -6 . A l l o f th is m o tio n stops in m e a s u re 6 and is e m p h a s iz e d by the

s lo w e r te m p o in d ic a te d by the c o m p o s e r. T h e d im in u e n d o th a t begins

in m e a s u r e 4 (page 1 0 7 ) and c o n tin u e s to m e a s u re 6 , to g e th e r w ith the

s lo w in g rh y th m ic m o tio n , in d ic a te a p o in t o f re p o s e on b e ats th r e e and

f o u r o f m e a s u re 6 .

M e a s u r e s 7 and 8 . H e r e S c h u lle r uses the b ra s s and p e rc u s s io n

tim b r e s f o r the f i r s t t im e . T h e f a c t th a t he did not in c lu d e th e m in h is

o pen in g s o n o rity (m e a s u r e s 1 - 6 , pages 107 & 1 0 8 ), b u t chose to m a ke

t h e i r e n tra n c e s as a p o in t o f a p p a re n t w oodw ind re p o s e (m e a s u re s 7 - 8

page 1 0 8 ), in d ic a te s th a t th e s e s ta te m e n ts , in s p ite o f t h e ir d y n a m ic

in d ic a tio n s , a r e s ig n ific a n t. T h e te m p o m a r k in g and unique q u a lity o f

 105

th e m u te d b ra s s s u p p o rt the w r i t e r 's v ie w th a t th ese m e a s u re s be

tr e a te d as an im p o r ta n t in te rlu d e b etw een tw o lo n g e r s e c tio n s . In

th is v e in , th e c o n d u c to r should th en c o n tra s t th ese tw o m e a s u re s w ith

w h a t has com e b e fo r e .

M e a s u re s 9 -2 2 . In th e v ie w o f th is in t e r p r e t e r th e r e is a

c o n stan t m o tio n th ro u g h th e s e fo u rte e n m e a s u re s , w ith th r e e im p o r ­

ta n t a s p e c ts o f the s c o rin g r e q u ir in g e m p h a s is by th e c o n d u c to r.

F i r s t , th e e n tra n c e o f th e b ra s s in m e a s u re 1 0 -1 3 (p a g e s 109 & 1 1 0 ),

and a g a in in m e a s u re s 1 6 -2 0 (p a g e s 110 & 111) need to be d is tin g u is h e d

as s e p a ra te te x tu r a l la y e r s and not confused w ith th e w o o d w in d s.

S c h u lle r in d ic a te s the im p o rta n c e o f: (1 ) the c o rn e t lin e in m e a s u re 12

(p ag e 1 0 9 ) w ith the in d ic a tio n e s p r e s s iv o ; and (2 ) th e c o r n e t-tr o m b o n e

in m e a s u re s 17 and 18 (page 111) w ith a c c e n ts .

S e c o n d ly , as d is c u s s e d in C h a p te r I I (page 2 5 ) , th e r e a r e th re e

m e lo d ic rh y th m s in m e a s u re s 1 8 -2 0 (p ag e 1 1 1) . T w o o f th e s e , p r o ­

duced by u p p e r and lo w e r w oodw inds r e s p e c tiv e ly , fu n c tio n in a

c o n tra p u n ta l m a n n e r o v e r a t h ir d in th e b r a s s , w h ic h s e e m s to be a

fo r m o f a c c o m p a n im e n t. T h u s id e n tifie d , th e c o n tra p u n ta l and

a c c o m p a n im e n t n a tu re o f th e s e te x tu r a l la y e r s should be m a d e c le a r ly

a u d ib le .

F in a lly , re p o s e in m e a s u re 22 (page 112) s e e m s to be in d ic a te d

b ecau se o f th e re s o lu tio n o f th e c o n tra p u n ta l te x tu r a l la y e r s ju s t

d e s c rib e d in to a c o m m o n m e lo d ic rh y th m in th e p re c e d in g b a r (s e e
D e s c r ip tiv e C h a r t , page 9 9 ) . T h e p ic c o lo in m e a s u re 2 2 should

in d ic a te th is m o m e n t as a p o in t o f re p o s e , p e rh a p s b y p e r fo r m in g th is

t r i l l s lo w ly o r w ith even m o r e d im in u e n d o than in d ic a te d .

 107

Example 12

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S e c tio n A (m e a s u r e s 1 - 2 4 ) .

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S e c tio n B; m e a s u re s 2 3 - 7 6

T h is s e c tio n is d is tin g u is h e d by th e o v e rla p p in g o f te x tu r a l

e v e n ts — la y e r s o f te x tu r e — as illu s tr a te d in F ig u r e 6 (p a g e 1 1 8 ).

E x a m in a tio n o f E x a m p le 13 (p a g e s 1 1 9 -1 2 7 ) s e e m s to in d ic a te a p ro ­

g r e s s iv e th ic k e n in g o f t e x tu r e s , p ro d u c in g a sense o f d e v e lo p m e n t

fr o m th e s im p le to th e c o m p le x . T h e a u th o r fe e ls th a t by k ee p in g th is

k in d o f g ro w th p ro c e s s w e ll in m in d , a lo n g w ith th e "b u ild in g b lo c k -

lik e " fu n c tio n o f e a c h te x tu r a l l a y e r , th e c o n d u c to r m ig h t w e ll c r e a te

a s e n s e o f im p e llin g m o tio n th ro u g h o u t the e n t ir e f i f t y - f o u r m e a s u re s

o f S e c tio n B . F u r t h e r m o r e , p o in ts o f re p o s e in d ic a te d in th e d is c u s ­

s io n th a t fo llo w s should not d is tu r b th is " m a c r o - v ie w , " r a t h e r th e y

should s e r v e to d e fin e e ac h o f the s e p a r a te " b u ild in g b lo c k s ."

M e a s u r e s 23 and 2 4 . T h e s e tw o m e a s u re s (on page 1 1 9 ) m a r k

th e b eginnin g o f S e c tio n B by a b ru p tly in te r r u p tin g the re p o s e o f

S e c tio n A , in d ic a te d by the sudden d y n a m ic change fr o m p ian o to f o r t e .

N o t to be o v e rlo o k e d h e r e is w h a t s e e m s to be a te x tu r a l s i m i l a r i t y

h e r e and a t th e end o f S e c tio n B (m e a s u re s 7 5 - 7 6 , page 1 2 7 ), in d ic a te d

on th e d e s c r ip tiv e a n a ly s is c h a r t (pages 9 8 and 101) as a c o m p le x

r h y th m . I f th is r e la tio n s h ip is s o , th en th e c o n d u c to r can a p p ro ac h

th e s e m e a s u re s a s a beginnin g and end o f te x tu r a l d e v e lo p m e n t.

M e a s u r e s 2 4 -3 1 . T h e m e lo d ic rh y th m r e s u ltin g fr o m the

v a r io u s w oodw ind e n tra n c e s in m e a s u re s 2 4 th ro u g h 31 (p a y u ^ 119~

1 2 1 ) s e e m to p ro v id e an a c c o m p a n im e n t f o r : ( 1) th e o b o e -e n g lis h h o rn
 114

m o tiv e in m e a s u re s 2 5 - 2 6 (page 1 20 ); and (2 ) th e oboe m o tiv e in

m e a s u re 2 8 . T h e w r i t e r has o b s e rv e d th a t the f i r s t o f th e s e is m a rk e d

by th e c o m p o s e r w ith a c c e n ts and is , in f a c t , a v e r t ic a l d is p la y o f the

second. T h e f i r s t th r e e beats o f m e a s u re 27 (p ag e 120) m a y be tr e a te d

as a p o in t o f p a r t ia l re p o s e , h o w e v e r , the c o n d u c to r should be sen.~Li.ive

to the need o f s o m e m o tio n to connect the tw o m o tiv e s ju s t m e n tio n e d .

A t b e a t fo u r in m e a s u re 28 the c o n d u c to r should focus a tte n tio n to the

b r a s s , bu t r e m a in a w a r e o f th e o v e rla p p in g w oodw ind and b ra s s te x ­

t u r a l la y e r s .

M e a s u re s 2 8 - 3 4 . T h e tro m b o n e t r i a d , beginnin g in m e a s u re

2 8 (page 120) and s u s ta in e d and fin a lly tr a n s fo r m e d th ro u g h m e a s u re

3 4 (page 1 2 1 ), fu n c tio n s as a fo r m o f a c c o m p a n im e n t, ju s t as th e wood­

w in d s have in the p re v io u s s e c tio n . T h e c o n tra p u n ta l tr e a tm e n t o f

b a r ito n e -tu b a m o tiv e s s e e m s to be the m o s t im p o r ta n t a s p e c t o f th is

" b u ild in g b lo c k " a s in d ic a te d b y the c o m p o s e r’ s m a rk in g s o f

" e s p r e s s iv o . " A n y s e n s e o f re p o s e in m e a s u re 32 (page 121) m u s t be

p a r t ia l and a s e n s e o f m o tio n to the n e x t t e x t u r a l l a y e r is in d ic a te d by

th e a d d itio n o f A*3, C , and F (a n o th e r t r i a d ) to the a lr e a d y s u stain e d

tro m b o n e sound.

M e a s u re s 3 3 - 3 6 . T h e n e x t te x tu r a l l a y e r is fo r m e d by the

c o n tra p u n ta l tr e a tm e n t o f m o tiv e s in th e c o r n e t -tr u m p e t v o ic e s . T h is

h ig h ly r h y th m ic a l c o m p o s ite is notated on the d e s c r ip tiv e c h a r t (page

1 0 2 ) and c le a r ly p ro d u c e s a m e lo d ic rh y th m o f its o w n . T h is
 115

i n t e r p r e t e r w ould e m p h a s iz e th e c o n tra p u n ta l tr e a tm e n t h e re by c la r i t y

o f e ac h o f th e s ix e n tr a n c e s .

M e a s u re rs 3 5 -3 8 . A t m e a s u re 3 6 (page 1 2 2 ) the w r i t e r sen s e s

a p o in t o f r e la t iv e re p o s e in th e s u s ta in e d tr ia d o f the f lu te s . In

m e a s u re 3 7 , h o w e v e r , th e added t r i a d , w h o se p itc h e s a r e but one

h a lf s te p a w a y fr o m the a lr e a d y s u s ta in e d s o n o r ity , p ro d u c e s an

in s ta b ility w h ic h in tu r n c r e a te s a s en se o f m o tio n .

M e a s u re s 3 7 -4 0 . F o r c o n s is te n t in te r p r e t a t io n , the tr e a tm e n t

o f th is te x tu r a l e v e n t should be th e s a m e as m e a s u re s 3 3 - 3 6 . The

w r i t e r w is h e s to p o in t o u t h o w , th ro u g h o u t S e c tio n B , e ac h c o n tra ­

p u n tal te x tu r e has g ro w n in le n g th , n u m b e r o f v o ic e s , and c o m p le x ity .

T h is s e e m s c o n s is te n t w ith th e v ie w th a t S e c tio n B is indeed

d e v e lo p m e n ta l in n a tu r e .

M e a s u re s 4 0 -4 3 . A g a in , the s a m e t r ia d ic te x tu r a l r e la tio n s h ip

and m o tiv e a r e e v id e n t h e r e (page 123) as in m e a s u re s 3 5 - 3 8 (p ag e 1 2 2 ).

T h e w r i t e r fin d s no to n a l r e la tio n s h ip b e tw e e n th e v a r io u s tr ia d s th a t

a p p e a r th ro u g h S e c tio n B , r a t h e r he h as c oncluded th a t th e te x tu r e o f

th e t r ia d is used by S c h u lle r a s c o n tra s tin g m a t e r ia l to m o r e c h r o m a tic

te x tu r e s . I t m a y s e r v e the c o n d u c to r to k ee p th is k in d o f c o n tr a s t

w e ll in m in d as he s e e k s to c r e a te a sense o f d e v e lo p m e n t.

M e a s u re s 4 2 -5 1 . T h e s e ten m e a s u re s (p a g e s 1 2 3 -1 2 4 ) c o n ta in

a m o r e ra p id o v e rla p p in g o f c o n tra p u n ta l te x tu r a l l a y e r s . B eg in n in g

w ith th e flu te s in m e a s u re 4 2 , th e bassoons in m e a s u re 4 5 , the

 116

b a rito n e s in m e a s u re 4 6 , and the tubas in m e a s u re 4 8 , th e c o n tra p u n ­

ta l m o tio n f i r s t q u ic k e n s , then g r a d u a lly s u b s id e s . T h e re p o s e in

m e a s u re s 5 0 -5 1 is g r e a t e r than p r e v io u s ly in th is s e c tio n because o f

th e len g th o f tim e in w h ic h no f u r t h e r o v e rla p p in g o c c u r s . T h e lo w F

in th e B*3 c o n tra b a s s c la r in e t s e e m s to s e rv e t im b r e (and s u b s e q u e n tly

t e x tu r e ) as opposed to any o th e r fu n c tio n .

M e a s u re s 5 1 - 6 0 . T h e te x tu r e and m o tio n o f th is passage

(p age 1 2 4 ) needs l i t t l e e x p la n a tio n . T h e o b s e r v e r w i l l note the b r i e f

c o n tra p u n ta l t r e a tm e n t in m e a s u re s 5 2 - 5 3 , the in te r e s tin g r h y th m ic a l

fo r c e w ith in b e a t fo u r o f m e a s u re 5 4 (b a s s d ru m and to m - t o m s ) , and

the c lim a c t ic e ffe c t o f th e c re s c e n d o in m e a s u re s 5 6 - 5 8 w h ic h o v e r la p s

w ith th e tro m b o n e s in m e a s u re 5 9 .

M e a s u re s 5 9 -6 1 . T h e w r i t e r fe e ls th a t th ese m e a s u re s (p a g e

1 2 4 ) a r e a p o in t o f re p o s e and r e p r e s e n t th e end o f the o v e rla p p in g o f

th e v a rio u s te x tu r a l la y e r s . T h is in te r p r e t a t io n is s u p p o rte d b y the

d im in u e n d o in th e p e rc u s s io n p a r t s , not n o ta te d but e v id e n t by the

d y in g a w a y o f c y m b a l and gong so u n d , and the c o m p o s e r’ s m a r k in g o f

’’poco r i t . "

M e a s u re s 6 1 -7 8 . B eg in n in g w ith m e a s u re 61 (page 1 2 4 ),

S c h u lle r m ix e s , f o r th e f i r s t tim e in S e c tio n B , th e v a rio u s te x tu r a l

’’ b u ild in g b lo c k s ," in a sen s e d e v e lo p in g th e m s im u lta n e o u s ly . In

m e a s u re s 6 2 - 6 4 , and in m e a s u re 6 5 , th e s u s ta in e d te x tu r e o f f i r s t

w oodw inds and th en tro m b o n e s a r e used as a f o r m o f a c c o m p a n im e n t

to th e p e rc u s s io n m o tiv e s . T h e s ix te e n th note m o tiv e in m e a s u re 65

is th e b eg in n in g o f a sequence o f ra p id note v a lu e s th a t m a y be tra c e d

th ro u g h to a c lim a x in m e a s u r e 7 6 (p ag e 127). M e a s u r e s 6 1 - 6 4 (page

1 2 4 ) m a y be v ie w e d as th e "s e e d " o f th is d e v e lo p m e n ta l p ro c e s s a n d ,

t h e r e f o r e , i t s e e m s a p p ro p r ia te to fe e l p a r t ia l re p o s e in the s u stain e d

e ffe c t in m e a s u re 6 4 in o r d e r to e m p h a s iz e th is . F r o m m e a s u re s 65

to 7 6 , th is i n t e r p r e t e r fe e ls th e r e should be a s en s e o f c o n tin u a l

m o m e n tu m d r iv in g th ro u g h th e te x tu r e in m e a s u re 76 to the fe r m a t a

a t th e end o f th a t m e a s u r e .
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z
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 119

Example 13

G u n th e r S c h u lle r , S tu d y in T e x t u r e s ,
S e c tio n B (m e a s u re s 2 1 - 7 6 )

Ftec,

ru.

B.Ha.

I * Cl.
O iiD

• it

•it

rH>i.

pp

vt

pp

m
 120

Example 13, continued.

P irc. 1-1 to F la .M

Fla.

O b i. T :?
B,tin.

P S oli!

Solotone tnuiet

T b as.
Solotonc ir.ut'

* l a tb n a c a o f Sototoao m a t* c o n r Cup m a t* w itb b u o d h e rd iU f o r cloth.

AMF*68UM7
 121

Example 13, continued.

* Nota, pi«vi«ui p tp
AMf*6fil0 n
 122

Example 13 continued

■tci.

H k .C li.

ir u to o ff

mute t f f ,

">
Tbu.
mute o ff

Off

m
 123

Example 13, continued.

Fit.

EfrAC

Tba

■PP

PP
 124

Example 13, continued.

J3I------------------------------- = ~ = p -------- * -----------------

(A — ^----- ■------^------------- j ................ ......- ..... ■.. -------------- ■------ -------------- ~ - ~ 2
s
pp =—
*" -----------..
= = = = * H T.“ H=£r::r== «==£*££= : r - r r s r ir i rr:l-~-;Z — ■su~H

=^=srii-rT.-.T.tr=£.::.^r.:-i-r ~=Z:Z= n r ' V . - , ~ .-Z= j-T~ r£ ~ r-v. HZ ■/._ ~ r - = ^

1 Solo

1 Solo ....... .... . - r r - . - i - - * - .

H L r^ ...-„
;= * -
T ...
■— — r_v -.=:
r.:: H IE f iE € i? & Q n

Tom
— ;-. - 1 ~ - ± - -T T =
. "/
8 .0 . , £ f r-p
H —-------------------- -
jp p - ,'Z :-£ r /
w,w >od" * " l 4v . felt ^
I r —-------- J
V jv
B.D. B
3H— ------------------- ------------------------ 1 , - n

pocc f i t .
S u lo iu n c n iu le i

S o in to n e mute}

S r lo tr u e M ulr>

Tom

mp
s.n
pp
C ym .|

B.D.

BfcCls. mp.

PP
open

B»0. PP
 125

Example 13, continued.

A M f » 6 8 !0 * l7
 126

Example 13, continued.

F l.S -C to Ficc. 1-2

Ek C l.

d iv . » 4

m p marc.

51. m»le

St. mute

PP
S t. m u tt

» .D .
 127

Example 13, continued.

 128
S e c tio n C : m e a s u re s 7 7 - 8 6

In th is fin a l s e c tio n (E x a m p le 1 4 , pages 1 3 0 -1 3 2 ) S c h u lle r

c r e a te s a k in d o f re c a p itu la tio n o r s u m m a r y p re s e n ta tio n o f w h a t has

co m e b e fo r e . W h ile a ll o f th e te x tu r a l la y e r s a p p e a r in a tu tti m a n n e r ,

e a c h is g iv e n its own fin a l p ro m in e n c e th ro u g h d y n a m ic e m p h a s is .

T h e s e d y n a m ic s u rg e s g iv e th e c o m p o s ite te x tu r e a u n iq u en ess and a ls o

c r e a te a m e lo d ic rh y th m o f t h e i r o w n , as in d ic a te d on the D e s c r ip tiv e

A n a ly s is C h a r t (p a g e s 102 & 103). A tte n tio n to th is c o m p o s ite e ffe c t

w i l l s e r v e to a s s is t a sense o f m o tio n f r o m m e a s u re 77 to m e a s u re

82 (p a g e s 1 30 & 1 3 1 ).

T h e use o f a s o lo B *3 c la r in e t b e g in n in g in m e a s u r e 78 (page

1 3 0 ) s e e m s to in d ic a te th a t a ll o th e r te x tu r e s a r e now s o m e fo r m o f

a c c o m p a n im e n t. In m e a s u re s 8 3 and 8 4 (p a g e s 131 & 1 3 2 ) the w ood­

w in d and b ra s s c h r o m a tic lin e s a r e in c o n tr a r y m o tio n a s i f to open

a s p ac e b e tw ee n th e s e tw o te x tu r a l la y e r s f o r th e s o lo c la r in e t to

f in a lly e m e r g e in m e a s u re s 8 4 and 8 5 . In t u r n , th e te x tu r e o f the solo

c la r in e t and the E *3 c o n tra b a s s c la r i n e t c r e a te s a s p a c e f o r the p e rc u s ­

s io n f ig u r e in m e a s u re 8 5 .

T h e fin a l fe e lin g o f re p o s e c o m e s in m e a s u re 86 (page 1 3 2 ).

In th e v ie w o f th is in t e r p r e t e r , th e c o n d u c to r should p ro lo n g th e

c la r in e t r e s o lu tio n to its A so a s to c o in c id e w ith the d yin g a w a y o f

th e suspended c y m b a l. F u r t h e r m o r e , a d im in u e n d o th ro u g h th e f e r m a t a

w i l l en h an ce th is e ffe c t and p r e p a r e f o r th e r e la t iv e ly lo n g , fin a l e ig h th

n ote (a s p e r th e c o m p o s e r's te n u to m a r k in g ). T h e p ie c e should then

 129

end w ith an e ig h t note o f s ile n c e as in d ic a te d by S c h u lle r 's n o ta tio n in

th e s o lo c la r in e t l i n e .
 130

Example 14

G u n th e r S c h u lle r , S tu d y in T e x t u r e s ,
m e a s u re s 7 7 - 8 6 .
(27]Meno tuosbo (/ct«.84)-very quietly

race, j

S .H n .
PP

d iv .* 3

* lf» p p

• > /* rr

S 'A .C U .2

*/> i»p

<•/>»

S t A . fee : PP «»-**/►«*

BVT.Scb.

|77lMono iu u s s o ( A 8 4 )- very quietly

l p i. mute* _____ - ... —

St.tD'iU

H arm on mute • ? „ __ ——

eirtoTTdtX pp
muted

r n sa .
muted

St. mute

St. mule
pp
m m
pp

one I'U y e i
muted

N.B. in b * n 77*6St Ui< p U y tit map n t t b r t it lie d u r i/ if cn ica m ta i «u<1 Jum nueudw, i.e. before • t t / f C m n m in i b a lik m Ihe talJ player* re tu rn t o / /
eftereacfe cm ccn d o.
AMP-6810-17
 131

Example 14, continued.

 132

Example 14, continued.

&]

s f =,/ s~ : r m j r

a ■■— ■■■•■—■■■■■ .';■ - ■ ■— ■» ■■ ----- r - - ............................ . i ■ 7 "'T T ^ '!---- •'r

„ T f f l. A

A
a Cym-
r ; ’ '
M td .T o m . A
» ' i i

u b . ix _ !..._ ___
N" f
 133

M A C R O - V IE W

T h e w r i t e r 's m a c r o - v ie w o f S tu d y in T e x tu r e s r e fle c ts th re e

la r g e s e c tio n s a s in d ic a te d in F ig u r e 4 , page 9 5 . T h e s e s e c tio n s a re

d is tin g u is h e d b y : ( 1 ) th e n o n -o v e rla p p in g tr e a tm e n t o f te x tu r a l la y e r s

in s e c tio n s A and C v e rs u s the o v e rla p p in g p ro c e s s in s e c tio n B;

(2 ) th e r e la te d e ffe c ts a t th e end o f s e c tio n s A and C , e ac h w ith a

s in g le w oodw ind in s tr u m e n t s u s ta in in g a tone: and (3 ) the u se o f the

t r i l l a t th e end o f s e c tio n s A and B . W ith r e fe r e n c e to th e la s t

s ta te m e n t, th e w r i t e r fe e ls th a t the p ic c o lo t r i l l in m e a s u re 22 (page

1 1 2 ) and its sudden in te r r u p tio n by the b ra s s in the fo llo w in g m e a s u re

is r e la te d to th e tu t t i t r i l l in m e a s u r e 7 6 (p a g e 1 2 7 ) and its sudden

in te r r u p tio n by s ile n c e . T h e fa c t th a t th e s e e v e n ts o c c u r a t th e s a m e

tim e th a t S c h u lle r 's tr e a t m e n t o f m a t e r ia l changes m a k e s th e m

s ig n ific a n t s ig n posts o f f o r m a l s t r u c t u r e .

T h e in te r p r e t a t io n o f th is p ie c e as p re s e n te d h e re r e fle c ts a

r e la t iv e ly m ic r o s c o p ic e x a m in a tio n o f s e c tio n B . T h is w as done w ith

th e s o le in te n t o f d e m o n s tra tin g th e c o n d u c to r's need to c o n tro l the

o v e rla p p in g la y e r s o f te x tu r e and n o t to d e s tr o y the m o re im p o rta n t

m o tio n o f th e e n t ir e s e c tio n . T h e w r i t e r w is h e s to e m p h a s iz e th a t,

in h is v ie w , S tu d y in T e x t u r e s r e p r e s e n ts th e p r in c ip le o f tr a d itio n a l

" s o n a ta f o r m " in the fo llo w in g s e n s e : S e c tio n A is an e x p o s ito ry

s ta te m e n t o f m a t e r ia l; s e c tio n B is a p r o g r e s s iv e d e v e lo p m e n t o f th a t

m a t e r ia l; and s e c tio n C s e r v e s a s a r e v ie w o f w h a t has ta k e n p la c e .

 134

I f th is is s o , then th e sen s e o f w h o len e s s is e s s e n tia l to th e c o n d u c to r's

p re s e n ta tio n o f th is w o r k .
 135

C h a p te r V

SPECTRUM
B Y H E R B E R T B IE L A W A

S p e c tru m is a w o r k f o r c o n c e rt band and p r e r e c o r d e d e le c tr o n ic

ta p e . T h e ta p e , w h ic h has been pro d u ced by th e c o m p o s e r, s e rv e s

as an a u d ib le r e fe r e n c e w h ic h can a s s is t the c o n d u c to r in a r r iv in g

a t an in te r p r e t a t io n o f th e w o r k . B y n o tin g c a r e f u lly th e m a n n e r in

w h ic h the re c o rd e d sounds a r e h a n d le d , th is w r i t e r has concluded

th a t m o tio n and re p o s e r e la te d to m e lo d ic rh y th m c o in c id e s w ith the

d y n a m ic fa d in g in and o u t o f t i m b r e - t e x t u r e e v e n ts , th e a c c e le r a tio n

and su b seq u en t s lo w in g dow n o f r h y th m ic p a tte r n s , and th e r is e and

f a l l o f m e lo d ic c o n to u rs . T h e s e o b s e rv a tio n s h ave p ro v id e d the

a u th o r bases f o r in te r p r e t in g th e m e lo d ic rh y th m s th a t a p p e a r on

h is D e s c r ip tiv e A n a ly s is C h a r t o f th is p ie c e .

F u r t h e r d ir e c tio n to w a rd d e ve lo p in g an in te r p r e t a t io n o f th is

p ie c e is p ro v id e d by B ie la w a in th e f o r m o f a w r it t e n p r e fa c e to the

s c o r e , in w h ic h he d e s c r ib e s c e r ta in a sp e c ts o f his c o m p o s itio n a l

te c h n iq u e , in c lu d in g f o r m , the tw e lv e -to n e r o w upon w h ic h th e h a rm o n y

o f th is w o rk is o r g a n iz e d , and s o m e o f the t e x tu r a l r e s u lts o f th a t

s e r ia liz a t io n . W h ile th e s e c o m m e n ts p ro v id e an in tro d u c tio n to the

w o r k , in the v ie w o f th is w r i t e r th e y do no t b r in g th e c o n d u c to r
s ig n ific a n tly c lo s e r to w h a t B ie la w a h im s e lf r e f e r s to as " . . . cau s e

and e ffe c t, u n ity and v a r ie t y , e x p o s itio n and d e v e lo p m e n t, te n s io n and

re p o s e . . . . " C e r t a in ly the c o n d u c to r who is plan n in g to p e r fo r m

th is w o r k should be e n co u ra g e d to s tu d y th e c o m p o s e r's d e s c r ip tiv e

p r e fa c e , h o w e v e r, in th e v ie w o f th e w r i t e r , th e s e p a r t ic u la r "h in ts "

s e e m m o r e a p p r o p ria te to the m ic ro s c o p ic a n a ly s is o f a th e o r is t and

do not s u b s titu te f o r the p ro c e s s o f c h a rtin g m e lo d ic rh y th m and the

subsequent c o n clu s io n s re g a rd in g m o tio n and re p o s e . T o e m p h a s iz e

th e p re v io u s ly e x p re s s e d o p in io n o f th is w r i t e r , the c o n d u c to r is

c o n c e rn e d w ith m u s ic a l r e s u lts , n o t n e c e s s a r ily c o m p o s itio n a l p r o c e s s .

T h e r e f o r e , th e m o s t s ig n ific a n t " h in ts " re g a rd in g in te r p r e ta tio n o f

S p e c tru m a r e to be found in th e c o m p o s e r's c o n tro l o f t im b r e - t e x t u r e

e v e n ts , a u d ib le on the p r e r e c o r d e d ta p e , and th e m a rk in g s in the s c o re

its e lf.

T h e fo r m o f S p e c tru m is id e n tifie d by B ie la w a as " . . . r a t h e r

s tr a ig h t f o r w a r d , n a m e ly A B A . " F ig u r e 7 p ro v id e s the r e a d e r w ith

a m a c r o - v ie w o f th e p ie c e and s e r v e s to p re s e n t a fr a m e w o r k f o r the

d is c u s s io n th a t fo llo w s . ( I t sh o u ld be noted th a t the s p e c ific m e a s u re

n u m b e rs a r e n o t g iv e n by B ie la w a .)
 137

Figure 8

M a c r o - V ie w o f th e F o r m a l S tr u c tu r e
in B ie la w a 's S p e c tru m

S e c tio n A B A

M e a s u re s 1 -4 3 4 4 -5 0 5 1 -6 3 6 4 -1 5 1 1 5 2 -1 6 0 1 6 1 -2 0 3

P r im a r y Band Tape T ape T ape Band Tape

t im b r e - t e x t u r e and and
Band Band

S N Y T H E S I S O F D E S C R IP T IV E A N A L Y S IS

S p e c tru m re s e m b le s G u n th e r S c h u lle r 's S tu d y in T e x tu r e s in

th a t th e in te rw e a v in g o f fo u r m u s ic a l g e s tu re s (s o c a lle d , bu t not

id e n tifie d in B ie la w a 's p r e fa c e ) p ro d u c e te x tu r a l l a y e r s . U n lik e the

S c h u lle r w o r k , th e s e te x tu r e s c an be e a s ily tr a c e d to m e lo d ic c o n to u rs

th a t r e s u lt f r o m th e s e r ia liz a t io n o f a tw e lv e -to n e ro w w h ic h su b se­

q u e n tly p ro d u c e s the h a rm o n ic u n ity o f th is p ie c e . In o r d e r to a s s is t

the r e a d e r in id e n tify in g th e h a rm o n ic re la tio n s h ip o f th e g e s tu re s —

m o tiv e s — w ith in S p e c tr u m , and a t th e r i s k o f im p ly in g a th e o r is t 's

a p p ro ac h to a n a ly s is , th e w r i t e r has p ro v id e d a c h a r t o f the f o r t y - e ig h t

d iffe r e n t fo r m s p o s s ib le by th e s e r ia liz a t io n o f B ie la w a 's tone r o w .

T h is c h a r t p re s e n te d as F ig u r e 8 , is th e r e s u lt o f s y s te m a tic a lly

co m p u tin g a l l tra n s p o s itio n s o f th e o r ig in a l r o w , its r e tr o g r a d e s ,

 138

in v e r s io n s , and r e tr o g r a d e in v e rs io n s .^ ® T h e w r i t e r w is h e s to e m p h a ­

s iz e th a t th e in c lu s io n o f th is ty p e o f a n a ly s is , in th is d is c u s s io n ,

s e r v e s o n ly to en han ce the c o n d u c to r's m a c r o - v ie w o f h a rm o n ic

re la tio n s h ip s w ith in a s e r ia liz e d p ie c e a n d , s u b s e q u e n tly , h is undei—

s ta n d in g o f the w o r k 's u n ity .

S e c tio n A : m e a s u re s 1 -5 0

T h e m o tiv e s in s e c tio n A (E x a m p le 1 5 , pages 1 5 6 -1 6 5 ) a re :

( 1 ) the e ig h t-n o te p a tte r n in th e c o rn e t p a r t (m e a s u re s 1 - 2 ) w h ic h uses

th e f i r s t fiv e p itc h e s o f th e o r ig in a l to n e -r o w ; (2 ) the c o lle c tio n o f

p itc h e s in m e a s u r e s 1 -5 s c o re d f o r f lu t e s , v ib ra p h o n e , and oboes

w h ich a r e th e seco n d fiv e p itc h e s o f the o r ig in a l ro w ; (3 ) th e q u a r t e r -

note t r i p l e t in th e h o rn s (m e a s u re 1) w h ic h is based on th e la s t tw o

p itc h e s o f th e ro w to g e th e r w ith th e r e tr o g r a d e o f those p itc h e s

b eginnin g on B and ( 4 ) the r h y th m ic p u n c tu a tio n s c o re d f o r tro m b o n e s

and tuba in m e a s u re s 1 3 -1 4 m a d e up o f p itc h e s found c o n s e c u tiv e ly in

th e in v e r s io n o f th e ro w w h ich begins on D*3. B ecau se o f th e c le a r ly

d iffe r e n t r h y th m ic c h a r a c te r o f e a c h o f the m o tiv e s , i t is r e la t iv e ly

e a s y to o b s e rv e t h e i r p r o g re s s th ro u g h o u t th e p ie c e . A s in C h a p te r IV

1®The p ro c e s s o f c o n s tru c tin g su ch a c h a r t is c le a r ly p re s e n te d

by L eo n D a llin in h is book T e c h n iq u e s o f T w e n tie th C e n tu ry C o m p o s i­
tio n : A G uide to th e M a t e r ia ls o f M o d e m M u s ic th ir d e d itio n (D u b u q u e ,
Iow a: W m . C . B ro w n C o m p a n y , 1 9 7 4 ), pages 1 9 3 -1 9 5 .
 Figure 9

P e rm u ta tio n s o f the T w e lv e -to n e R ow

used in S p e c tr u m

D C Db Eb E G A Ab Gb F B A#

E D Eb F Gb A B A# Ab G Db C

Eb Db D E F Ab A* A G Gb C B

Db B C D Eb Gb Ab G F E A* A

C A* B Db D F G Gb E Eb A Ab

A G Ab A* B D E Eb Db C Gb F

G F Gb Ab A C D Db B A# E Eb

Ab Gb G A A* Db Eb D C B F E

A* Ab A B C Eb F E D Db G Gb

B A A* C Db E Gb F Eb D Ab G

F Eb E Gb G A* C B A Ab D Db

Gb E F G Ab B Db C A# A Eb D

1. Read f r o m l e f t to r ig h t r e v e a ls o r ig in a l ro w and sub­

seq u en t tr a n s p o s itio n s .

2. R ead f r o m r ig h t to l e f t r e v e a ls r e tr o g r a d e s and sub­

s eq u e n t tr a n s p o s itio n s .

3. R ead fr o m top to bo tto m r e v e a ls in v e rs io n s and sub­

s eq u e n t tr a n s p o s itio n s .

4. R ead fr o m b o tto m to top re v e a ls r e tr o g r a d e in v e r ­

s io n s and tr a n s p o s itio n s .
 140

th e "c o n d u c tin g p h ra s e s " sh o u ld be v ie w e d in te r m s o f th e o v e rla p p in g

e ffe c t w h ic h r e s u lts f r o m th e o fte n ra p id e n tra n c e s o f th ese m o tiv e s .

T h e opening m e a s u re s ( 1 - 5 P ages 156 & 157) c o n ta in s im u lt a ­

neous s ta te m e n ts o f the f i r s t th r e e m o tiv e s d e s c rib e d a b o v e . Exam ­

in a tio n o f th e c o m p o s e r's d y n a m ic m a r k in g s in th e s e m e a s u re s s e e m to

in d ic a te e q u a l im p o rta n c e to th e s e m o tiv e s , th e re b y p ro d u c in g a

p o ly p h o n ic t e x t u r e . F u r t h e r m o r e , th e w r i t e r senses u r g e n t r h y th m ic

m o tio n re s u ltin g fr o m the th r e e a g a in s t f o u r rh y th m (c o rn e ts and h orns

in m e a s u re s 1 - 6 ) and the tw o a g a in s t th r e e rh y th m (b a rito n e and tim p a n i

in m e a s u re s 7 - 1 0 pages 157 & 1 5 8 ). T h is m o tio n a p p e a rs to r e a c h a

c lim a x in m e a s u re 1 0 . In the v ie w o f th is w r i t e r , the te x tu r a l

c o m p le x ity and m o tio n o f m e lo d ic rh y th m s in d ic a te th a t th e f i r s t e le v e n

m e a s u re s a r e an in tr o d u c to r y s ta te m e n t o f h a rm o n ic and r h y th m ic

m a t e r ia l upon w h ic h the e n tir e p ie c e is b u ilt . A s s u c h , th e r e needs

to be a s e n s e o f u n ity and a d e c la r a t iv e s en s e about th e s e e le v e n

m e a s u re s .

M e a s u r e s 12 th ro u g h 4 6 (p a g e s 1 5 8 - 164) c o n ta in fr e q u e n t s ta te ­

m e n ts o f m o tiv e s in tro d u c e d e a r l i e r . B ie la w a 's c o n s ta n t r h y th m ic

n o ta tio n o f th e s e m o tiv e s m a k e s th e m e a s ily re c o g n iz a b le in th e s c o re

and s h o u ld , in th e v ie w o f th is i n t e r p r e t e r , be tre a te d a s a d e v e lo p ­

m e n t - lik e p ro g re s s io n o f e v e n ts . R e p e titio n o f th ese m o tiv e s m a y be

s e e n in th e m e lo d ic rh y th m n o ta te d on th e D e s c r ip tiv e A n a ly s is C h a r t

f o r th e s e m e a s u re s (p a g e s 1 4 3 -1 5 5 ). T h e u n ity o f th is d e v e lo p m e n t-
 141

lik e s e c tio n s e e m s b e s t s e rv e d by keep in g e ac h m o tiv e a u d ib ly c le a r ;

m o tio n and re p o s e c o in c id in g w ith th e d u r a tio n o f e a c h m o tiv ic s ta te ­

m e n t. T h e w r i t e r w is h e s to p o in t o u t th a t one m o tiv ic s ta te m e n t m a y

in c lu d e s e v e r a l chang es in tim b r e i . e . , m e a s u re s 3 6 - 4 4 (pages 163 &

1 6 4 ) w h e re th e q u a r t e r - n o t e t r i p l e t m o tiv e is p assed b a ck and fo r t h

b e tw ee n the h o rn s and c o r n e ts . E v e n though th e t im b r e c h a n g e s , the

s ta te m e n t should be h e a rd in a u n ifie d fa s h io n . B e c au s e o f the

s i m i l a r i t y o f th is in te r p r e t a t io n to th e w r i t e r ' s v ie w o f S tu d y in

T e x t u r e s , th e r e m a in d e r o f th e d is c u s s io n w ith r e g a r d to S e c tio n A

w i l l c o n c e rn i t s e l f w ith c o n s id e ra tio n s f o r in te r p r e t a t io n th a t d i f f e r

f r o m th o se a lr e a d y p re s e n te d in C h a p te r I V .

A u d ito r y s tu d y o f th e e le c tr o n ic ta p e has le d th is i n t e r p r e t e r

to the v ie w th a t s o m e o f the te x tu r e s s c o re d f o r the band should be

tr e a te d in a s i m i l a r m a n n e r as those c re a te d e le c tr o n ic a lly — and

c o n tr o lle d — by th e c o m p o s e r. F o r e x a m p le , in m e a s u re s 1 2 -1 9

(p a g e s 158 & 159 ) th e te x tu r e w h ich begins as a q u a r te r -n o te t r i p l e t

in the flu te s and th e n b e co m e s a s e r ie s o f s u s ta in e d p itc h e s in o th e r

w oodw ind p a r t s , m ig h t w e ll be p e r fo r m e d w ith a sudden beginnin g

fo llo w e d by a g ra d u a l "fa d in g o u t , " an e ffe c t s i m i l a r to th a t p roduced

b y s u d d e n ly tu rn in g up th e v o lu m e c o n tro l o f an a m p lif ie r and g r a d u a lly

tu rn in g i t to w a rd it s o f f p o s itio n . A s i m i l a r e f f e c t , th is tim e c o m p a ­

r a b le to m a n ip u la tin g th e fre q u e n c y m o d u la tio n c o n tr o l o f an e le c tr o n ic

sound g e n e r a to r , is found in m e a s u re s 2 5 - 3 0 (p a g e s 160 & 1 61) by

tr a c in g th e p ro g re s s io n o f r is in g p itc h e s beginnin g w ith th e c la r in e t s ,

th e n th e double r e e d s , and f in a lly th e E b c la r in e t and p ic c o lo . The

s a m e phenom enon can be o b s e rv e d in th e p ro g re s s io n o f p itc h e s th a t

beg ins w ith th e b a r ito n e -tu b a F - n a t u r a l in m e a s u re 33 (p a g e 1 6 2 ) and

th e s u b seq u en t r is in g ''u a r te r -n o te s th ro u g h the w oodw ind p a r ts ,

d e sc e n d in g s lig h t ly in m e a s u r e 4 2 . T h e r e s e e m s to be a d i r e c t r e la ­

tio n s h ip b e tw e e n th is lin e and the ta p e sounds w h ich b e g in s in m e a s u re

38 and s i m i l a r l y d escen d s in m e a s u re s 49 and 5 0 (p a g e 1 6 5 ). Thus,

th e w r i t e r fe e ls th a t h is in te r p r e t a t io n o f th e s e m e lo d ic rh y th m s

s c o re d f o r th e band is v a lid w hen v ie w e d in th e lig h t o f the c o m p o s e r’s

c o n tr o l o v e r s i m i l a r e v e n ts h e a rd on th e p re r e c o r d e d ta p e .

S tu d y o f th e o v e rla p p in g m e lo d ic rh y th m s f r o m m e a s u re s 12

th ro u g h 5 0 (p a g e s 1 5 8 -1 6 5 ) s e e m to in d ic a te a c o n s ta n t, d r iv in g m o tio n .

C l e a r l y th e r e is n o t one p o in t in th e s e m e a s u re s w h e re r h y th m ic

m o tio n s to p s . T h u s o b s e rv e d , th e c o n d u c to r m ig h t c o n s id e r th e s e

t h ir t y - n in e m e a s u re s as one p ro lo n g e d m o tio n , the re p o s e o f w h ich

lie s n o t in h is c o n tr o l, b u t r a t h e r on th e p r e r e c o r d e d ta p e in m e a s u re

50. I f th is in te r p r e t a t io n w e r e fo llo w e d , th e c o n d u c to r should be

c a r e fu l in h is tr a n s it io n f r o m band to ta p e (m e a s u re s 4 3 - 4 6 , page 1 6 4 ).
D escrip tive Analysis C hart; H e rb e rt B ie la w a
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 156

E x a m p le 15

H e r b e r t B ie la w a , S p e c tr u m , m e a s u re s 1 - 5 0 .

S P E C T R U M

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R ep ro d u ced w ith p e r m is s io n .
E x a m p le 1 5 , c o n tin u e d .
E x a m p le 1 5 , c o n tin u e d .
 159

Example 15, continued.

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 160

Example 15, continued.

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 161

Example 15, continued.

Example 15, continued.

s f w r w w t f
 163

Example 15, continued.

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 164

Example 15, continued.

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 165

Example 15, continued.

{J j J J j J » J J J T )
un 1
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A

S e c tio n B : m e a s u r e s 5 1 -1 5 1

T h is s e c tio n (E x a m p le 1 6 , pages 1 6 8 -1 7 9 ) begins w ith the

e le c tr o n ic ta p e . B ie la w a p ro v id e s r h y th m ic n o ta tio n above th e

v is u a liz a tio n o f e le c tr o n ic sounds to a s s is t th e c o n d u c to r in s y n c h ro ­

n iz in g the e n tra n c e s o f the band. T h e w r i t e r w is h e s to e m p h a s iz e

th a t b e cau se the p r e r e c o r d e d ta p e ru n s c o n tin u a lly to m e a s u r e 136

(p a g e 1 7 7 ), th e c o n d u c to r's in te r p r e t a t io n o f m o tio n m u s t be c o n s is te n t

w ith th a t o f the c o m p o s e r 's , and no v a r ia t io n o f te m p o , o th e r th an th a t

w h ic h a p p e a rs on th e ta p e (m e a s u r e 6 4 , page 1 6 8 ), is p o s s ib le . F u rth e r­

m o r e , w h e n e v e r th e e le c tr o n ic ta p e sound is p re s e n t th ro u g h o u t the

r e m a in d e r o f th e p ie c e , the c o n d u c to r's in te r p r e t a t io n w i l l be s i m i l a r l y

lim it e d .

F r o m m e a s u re s 6 7 th ro u g h 91 (p a g e s 169 & 1 7 0 ) the ta p e fu n c ­

tio n s a lt e r n a t e ly a s th e s o le p r o v id e r o f m e lo d ic r h y th m , and a s a fo r m

o f a c c o m p a n im e n t to th e c o u n te rp o in t p ro d u c e d b y tw o s o lo in s tr u m e n ta l

lin e s . T h e w r i t e r s u g g e sts th a t the m o tio n in th is s e c tio n is s i m i l a r to

th a t found in a B a ro q u e C o n c e rto ; an a lte r n a tio n o f s o lo and tu t ti p h r a s e s .

 166

T h e a p p e a ra n c e o f the q u a r te r -n o te t r i p l e t m o tiv e in m e a s u re 91 w ould

be tr e a te d as p a r t o f the a c c o m p a n im e n t to th e c o n tra p u n ta l p h ra s e

s c o re d f o r b a s s e s , c o n tr a b a s s - c la r in e t , and b a rito n e (m e a s u r e s 9 4 - 9 8

page 1 7 0 ).

C o n s id e rin g the r e la t iv e ly s ta tic m o tio n o f the ta p e sounds and

th e r e p e titiv e n e s s o f the q u a r te r -n o te t r i p l e t m o tiv e , the w r i t e r has

co ncluded th a t the im p o r ta n t m e lo d ic rh y th m in m e a s u re s 1 0 0 -1 0 7

(pages 171 & 1 7 2 ) is p ro d u c e d by c o n s e c u tiv e e n tra n c e s s c o re d f o r the

b ra s s e s and s ax o p h o n e s . In a s i m i l a r m a n n e r th e c o m p o s ite m o tio n

re s u ltin g f r o m th e b ra s s e n tra n c e s in m e a s u re s 1 0 9 -1 1 3 (page 1 7 2 )

w o u ld be tr e a te d a s one " p h ra s e " o f m e lo d ic r h y th m .

B e g in n in g w ith th e q u a r te r -n o te t r i p l e t m o tiv e in m e a s u re 114

and c o n tin u in g th ro u g h m e a s u r e 130 (pages 1 7 2 -1 7 5 ) , th e band s e rv e s

as an a c c o m p a n im e n t to the e le c tr o n ic ta p e s o u n d s . B ie la w a 's

d y n a m ic m a r k in g s th ro u g h the v a r io u s tim b r e s o f the a c c o m p a n im e n t

im p lie s , a g a in , th e e ffe c t o f m a n ip u la tin g the v o lu m e c o n tro l on an

e le c tr o n ic a m p li f ie r .

T h e te x tu r e o f th e band and ta p e o v e r la p in m e a s u r e 131 (p ag e

1 7 5 ). E x a m in a tio n o f th e m e lo d ic rh y th m and c o m p o s e r 's d y n a m ic

in d ic a tio n s h a ve le d the w r i t e r to c onclude th a t the m o tio n o f th is

s e c tio n b e g in s in m e a s u re 131 and c lim a x e s on b e a t one o f m e a s u re

144. S e c tio n B ends (m e a s u r e s 1 4 6 -1 5 0 pages 178 & 1 7 9 ) w ith tfie

e m p h a tic s ta te m e n ts o f th e c r is p rh y th m ic m o tiv e th a t c oncluded

S e c tio n A (m e a s u re s 3 8 - 4 6 , p ag es 163 & 1 6 4 ). M e a s u r e 151 (p a g e 179)

is tr a n s itio n a l to th e r e tu r n o f A a n d , a c c o rd in g to th is i n t e r p r e t e r ,

w o uld be tr e a te d w ith a sen s e o f p re p a r in g f o r the r e s ta te m e n t o f the

o p e n in g m e a s u r e s .
 Example 16

H e r b e r t B ie la w a , S p e c tr u m , m e a s u re s 5 1 - 1 5 1 .

(51)

Tempo II
 169

Example 16, continued.

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Example 16, continued.

E x a m p le 1 6 , c o n tin u e d .
 173

Example 16, continued.

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 174

Example 16, continued.

E x a m p le 1 6 , c o n tin u e d .
 176

Example 16, continued.

(T)(I33) Maestoso molto

tight
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 177

Example 16, continued.

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 178

Example 16, continued.

Q (144)Tempo I fwii/t tape)

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E x a m p le 1 6 , c o n tin u e d .
 180

S e c tio n A (R e tu r n e d ); m e a s u re s 1 5 2 -2 0 3

T h e r e tu r n o f A (E x a m p le 1 7 , pages 1 8 2 -1 9 1 ) can be c o n s id e re d

an e x a c t r e p e titio n o f th e opening s e v e n te e n m e a s u re s w ith but one

a lt e r a tio n ; th e e ig h t-n o te m o tiv e based on the f i r s t fiv e p itc h e s o f the

to n e ro w is s c o re d f o r th e e le c tr o n ic ta p e b eginnin g in m e a s u r e 161

(p ag e 1 8 3 ). U n ity o f the p ie c e is s e rv e d by in te r p r e t in g th e s e m e a s ­

u r e s as in th e b e g in n in g .

In m e a s u re s 1 6 8 -1 7 6 (p a g e s 185 & 1 8 6 ), the p e rc u s s io n p a rts

a r e s c o re d w ith a d e v e lo p m e n t o f th e r h y th m ic m o tiv e th a t has c lo sed

e a c h o f th e tw o p re v io u s s e c tio n s (m e a s u re s 3 8 - 4 6 , p a g es 163 & 164

and m e a s u re s 1 4 6 -1 5 0 , pages 177 & 1 7 8 ). T h is d e v e lo p m e n t m a y be

v ie w e d as tw o p h ra s e s o f fo u r m e a s u re s e a c h ; m e a s u r e s 1 6 9 -1 7 2

(p a g e s 185 & 1 8 6 ) and m e a s u re s 1 7 3 -1 7 6 (p ag e 1 8 6 ).

U n d e rs ta n d in g th e h a r m o n ic u n ity o f S p e c tru m (th e r e s u lt o f a

s e r ia liz e d tw e lv e -to n e r o w ) h as le d the w r i t e r to i n t e r p r e t th e c lu s te r

o f p itc h e s in m e a s u re 172 (p a g e 1 8 6 ) and the m o r e open a r r a n g e m e n t

o f th e s e s a m e p itc h e s in m e a s u re s 1 7 6 -1 7 7 (p a g e 1 8 6 ) as a r e tu r n o f

th e opening h a r m o n y . T h e s e " m o tiv e s " a r e c o n s tru c te d , in s e q u e n c e ,

f r o m the r e tr o g r a d e o f th e o r ig in a l tone ro w (s e e F ig u r e 8 , page 1 3 9 ).

F r o m m e a s u re 182 th ro u g h m e a s u re 188 (p a g e s 187 & 1 8 8 ),

th e r e is a n o v e rla p p in g o f te x tu r e s pro d u ced by ta p e and band.

B e g in n in g in m e a s u re 189 (p a g e 1 8 8 ) th e in te r p r e ta tio n w h ic h b e s t

s e r v e s th e u n ity o f th is w o r k w i ll be the s a m e as th a t o f m e a s u re s
 181

3 4 - 4 3 (p a g e s 1 6 2 -1 6 4 ) th e o n ly d iffe r e n c e being the c re s c e n d o th a t now

c o n tin u e s to the end o f th is " p h ra s e . " T h e fin a l re p o s e o f th e p ie c e

is c o n tro lle d by th e c o m p o s e r on th e e le c tr o n ic ta p e . In th e v ie w o f

th is w r i t e r , the c o n d u c to r m a y a s s is t th e c o m p o s e r by m a in ta in in g

an a w a re n e s s th a t th e m o tio n o f th e p ie c e is no t fin is h e d in m e a s u r e

2 0 0 o r 201 (p a g e 1 9 0 ). F u r t h e r m o r e , th is a w a re n e s s s e e m s n e c e s s a ry

in o r d e r to m a in ta in the te m p o d u rin g th e te n m e a s u re s (1 9 2 -1 0 1 on

pages 189 & 1 9 0 ) th a t the ta p e is ru n n in g bu t s ile n t .

 182

Example 17

H e r b e r t B ie la w a , S p e c tr u m , m e a s u re s 1 5 2 -2 0 3 .

MccWa

f ----------- 1---------- 1----------------------K---------- 1

 183

Example 17, continued.

I J J-.j-.J-.-Jid-
 184

Example 17, continued.

 185

Example 17, continued.

 186

Example 17, continued.

@ ( 176)
E x a m p le 1 7 , c o n tin u e d .
 188

E x a m p le 17, continued.

fCKiCj

cresv
E x a m p le 1 7, c o n tin u e d .
 190

E x a m p le 17, continued.

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 191

E x a m p le 17, continued.

Alt*

Alt*

ter.

TAK
 192

M A C R O - V IE W

B ie la w a has in d ic a te d th a t S p e c tr u m is in A B A f o r m , and

th is w r i t e r has illu s tr a te d th a t f o r m a l d e sig n in F ig u r e 7 (p a g e 1 3 7 ).

T h e w r i t e r f e e ls , h o w e v e r, th a t th e p ie c e is in an a lm o s t c o n s ta n t

s ta te o f t r a n s it io n , fr o m th e opening m o tiv e s and t e x tu r e s c o r e d f o r

th e band to th e fin a l s ta te m e n t p ro d u c e d b y the e le c t r o n ic - t a p e sounds.

T h is v ie w s e e m s to im p ly the n e c e s s ity f o r th e c o n d u c to r to m a in ta in

m o tio n th ro u g h o u t th e p r o g r e s s o f th e w o r k and to be a c u te ly a w a re

o f the re la tio n s h ip s and in te r p la y b e tw ee n the band and ta p e th a t

c o n trib u te to th is m o tio n . T h e " s ig n -p o s ts " w ith r e g a r d to m o tio n and

re p o s e a r e p r e s e n t on th e p re r e c o r d e d ta p e a n d , in th e v ie w o f th is

i n t e r p r e t e r , the c o n d u c to r w ould be w is e to fo llo w th e m .

W h ile th e e ffe c t o f th is w o r k is a u d ib le p r i m a r i l y as an in te r ­

change o f te x tu r a l la y e r s s i m i l a r to those found in S tu d y in T e x t u r e s ,

th e w r i t e r w is h e s to e m p h a s iz e w h a t he c o n s id e rs to be s ig n ific a n t

d iffe r e n c e s b e tw ee n th e s e tw o p ie c e s w h ic h have in flu e n c e d h is m a c ro ­

v ie w o f S p e c tr u m . F i r s t , th e h a r m o n ic u n ity o f S p e c tr u m is r e la te d

to its tw e lv e tone s e r i a l iz a t io n , in d ic a tin g th a t m o tio n and re p o s e a r e

in flu e n c e d by th is o r g a n iz a tio n a l p r in c ip le . E x a m in a tio n o f th e p ie c e

r e v e a ls th a t: (1 ) both s ta te m e n ts o f the A s e c tio n b e g in w ith th e tones

o f the o r ig in a l ro w ; ( 2 ) th e r e a r e o th e r p itc h re la tio n s h ip s based on

th e r o w i . e . , m e a s u r e 172 (d is c u s s e d on page 1 8 0 ); and (3 ) th e tape

 193

u s e s th e s e s a m e p itc h r e la tio n s h ip s a t a ll tim e s i . e . , m e a s u re s 161

and 2 0 2 (pages 1 8 3 -1 9 1 ).

S e c o n d ly , the d is tin c tio n o f ta p e v e r s u s band sounds s u p p o rts

th e s e n s e o f f o r m a l s tr u c tu r e and b a la n c e . S e c tio n A is s c o re d

p r i m a r i l y f o r th e band, S e c tio n B is p r i m a r i l y s c o re d f o r e le c tr o n ic

ta p e so u n d s , and the r e tu r n o f S e c tio n A is an in te r p la y o f both m e d i­

um s.

L a s t ly , th e u se o f a p r e r e c o r d e d ta p e r e s t r i c t s the c o n d u c to r's

f l e x i b i l i t y in t e r m s o f r h y th m ic n u a n c e . In th is p ie c e , as w e ll as

o th e r w o rk s th a t use e le c tr o n ic ta p e ( i . e . , G u n th e r S c h u lle r 's F o u r th

S t r e a m and E d g a r V a r e s e 's D e s e r t s ) , th e c o n d u c to r is o fte n fa c e d

w ith h a vin g to " k e e p -u p " w ith a p r e r e c o r d e d te m p o .

In s p ite o f the unusual m e d iu m o f th is w o r k , th e w r i t e r fe e ls

th a t a sense o f u n ity can be c o m m u n ic a te d to an au d ien c e p ro v id in g

th e c o n d u c to r's in te r p r e ta tio n is based on a m a c r o - v ie w r a t h e r th a n

th e p a s s in g o f in d iv id u a l m o m e n ts .
 194

C h a p te r V I

IN T E R P R E T A T IO N O F A L E A T O R IC E V E N T S

In th e v ie w o f th e w r i t e r , th e phenom enon o f m o tio n and re p o s e

is p r e s e n t in th e le s s p r e c is e rh y th m ic o r g a n iz a tio n o f c e r t a in a le a to r ic

e v e n ts . Due to th e n a tu re o f m u s ic — sound in m o tio n — and because

m u s ic is not in p e rp e tu a l m o tio n , a n y p ro g re s s io n re s u ltin g fr o m

sounded e v e n ts has a b e g in n in g and an e n d in g . T h e fa c t th a t a c o m p o s e r

c ho oses n o t to be s p e c ific in th e n o ta tio n o f c e r t a in p a r a m e te r s w ith in

a p a r t ic u la r p ie c e ( e it h e r th e e n t ir e p ie c e o r o n ly a m o tiv e o r s e c tio n

o f th e w h o le ), does not a l t e r th is c o n ce p t o f m u s ic a l m o tio n havin g a

b e g in n in g and s u b se q u e n t e n d in g . T h u s , th e r e is m o tio n in itia te d a t

th e b eg in n in g and re p o s e , synon ym ous w ith the e n d in g . T h e in t e r p r e ­

ta tio n o f su ch a le a t o r ic e v e n ts b e co m e s then a m a t t e r o f d e te r m in in g ,

in a m a n n e r s i m i l a r to the in v e s tig a tio n o f m u s ic w ith m o r e d e m an d in g

n o ta tio n , ju s t how th e c o m p o s e r has a ffe c te d m o tio n and re p o s e .

T h e w r i t e r w is h e s to e m p h a s iz e th e in v e s tig a tio n o f a le a to r ic

e v e n ts m a y fo llo w th e s a m e p ro c e s s o f d e s c r ip tiv e a n a ly s is dem on­

s tr a te d in C h a p te rs I I I th ro u g h V as long as rh y th m is n o ta te d , r e g a r d ­

le s s o f w h a t o th e r p a r a m e te r s a r e l e f t vague by the c o m p o s e r . How ­

e v e r , w h e re th e r h y th m ic p a r a m e te r s a r e n o t in d ic a te d , as in the

e x a m p le s used in th is c h a p te r , th e n o ta tio n o f m e lo d ic rh y th m th a t
 194

C h a p te r V I

IN T E R P R E T A T IO N O F A L E A T O R IC E V E N T S

In th e v ie w o f the w r i t e r , th e phenom enon o f m o tio n and re p o s e

is p r e s e n t in th e le s s p r e c is e rh y th m ic o r g a n iz a tio n o f c e r t a in a le a to r ic

e v e n ts . Due to th e n a tu re o f m u s ic — sound in m o tio n — and because

m u s ic is not in p e rp e tu a l m o tio n , a n y p ro g re s s io n re s u ltin g fr o m

sounded e v e n ts has a begin n in g and an e n d in g . T h e fa c t th a t a c o m p o s e r

chooses n o t to be s p e c ific in th e n o ta tio n o f c e r t a in p a r a m e te r s w ith in

a p a r t ic u la r p ie c e ( e it h e r th e e n tir e p ie c e o r o n ly a m o tiv e o r s e c tio n

o f th e w h o le ), do es n o t a l t e r th is c o n ce p t o f m u s ic a l m o tio n h a vin g a

begin n in g and s u b se q u e n t e n d in g . T h u s , th e r e is m o tio n in itia te d a t

th e beginnin g and r e p o s e , synon ym ous w ith th e e n d in g . T h e in t e r p r e ­

ta tio n o f such a le a to r ic e ve n ts b eco m e s then a m a t t e r o f d e te r m in in g ,

in a m a n n e r s i m i l a r to the in v e s tig a tio n o f m u s ic w ith m o r e d e m an d in g

n o ta tio n , ju s t how the c o m p o s e r has a ffe c te d m o tio n and re p o s e .

T h e w r i t e r w is h e s to e m p h a s iz e th e in v e s tig a tio n o f a le a to r ic

e v e n ts m a y fo llo w th e s a m e p ro c e s s o f d e s c r ip tiv e a n a ly s is d em o n ­

s tr a te d in C h a p te rs I I I th ro u g h V as long as rh y th m is n o ta te d , r e g a r d ­

le s s o f w h a t o th e r p a r a m e te r s a r e l e f t vague by th e c o m p o s e r. How­

e v e r , w h e re th e r h y th m ic p a r a m e te r s a r e n o t in d ic a te d , as in the

e x a m p le s used in th is c h a p te r , th e n o ta tio n o f m e lo d ic rh y th m th a t
 195

u s u a lly a s s is ts in the fo r m u la tio n o f c o n clu s io n s r e g a r d in g m o tio n and

r e p o s e , b e co m e s q u ite d i f f i c u l t . In the l a t e r c a s e , th e c o n d u c to r m u s t

a c c e p t th e vagueness o f r h y th m ic d e ta il and base h is d e te rm in a tio n s

on o th e r c o n s id e ra tio n s su ch a s t i m b r e , t e x tu r e , and d y n a m ic s .

T h e w r i t e r has found i t m o s t h e lp fu l to s e p a ra te c le a r l y in h is

m in d th o s e p a r a m e te r s w h ic h a r e not to be p e r fo r m e d w ith e x a c titu d e

fr o m th o s e w h ich have been c a r e f u lly c o n tro lle d by the c o m p o s e r's

n o ta tio n . T h ro u g h an a w a re n e s s and u n d e rs ta n d in g o f th e c o n tro lle d

p a r a m e te r s the w r i t e r is a b le to d r a w h is c o n c lu s io n s r e g a r d in g m o tio n

and re p o s e in a le a to r ic e v e n ts .

STATEM ENT
B Y B R E N T H E IS IN G E R

S ta te m e n t is one o f tw o w o rk s th a t c o n ta in a le a t o r ic e v e n ts

th e w r i t e r has s e le c te d f o r d is c u s s io n . I t is not a c o m p le te ly a le a to r ic

p ie c e , su ch as A p p o io by W a r r e n P e n n in g to n , but r a t h e r a w o rk in

w h ic h o n ly s o m e p a r a m e te r s a r e l e f t v a g u e , such as s m a ll rh y th m ic

u n its w ith in m e a s u r e s , s o m e p itc h c h o ic e s , and the m a t e r ia l used by

th e s p ea k in g v o ic e o f th e p la y e r s . U n lik e p re v io u s c h a p te r s , the w r i t e r

is n o t c o n c e rn e d h e re w ith a m a c r o - v ie w o f the e n t ir e p ie c e , r a t h e r a

m a c r o - v ie w o f o n ly th e a le a t o r ic s e c tio n s chosen f o r d is c u s s io n . O nce

m o tio n and re p o s e is u n d e rs to o d w ith in th e s e s e c tio n s , th e w r i t e r fe e ls

th e e n tir e w o rk m a y be a n a ly z e d and in te r p r e te d in m uch th e s a m e

m a n n e r a s in p re v io u s e x a m p le s .
 196

E x a m p le 18; m e as u res 2 0 -2 6

In m e a s u r e s 2 0 th ro u g h 2 6 H e is in g e r has c o n tro lle d p itc h ,

t i m b r e , m o s t d y n a m ic s , th e c o m p o s ite t e x t u r e , and to s o m e d e g r e e ,

r h y th m . T h e w r i t e r w is h e s to p o in t o u t th a t o n ly th e r e la t i v e l y s m a l l e r

r h y th m ic u n its h a ve been l e f t v a g u e . F o r e x a m p le , th e s e s ev e n

m e a s u re s fo llo w one a n o th e r in a c o n tr o lle d p e rio d o f tim e as in d ic a te d

by th e c o m p o s e r 's n o ta tio n o f m e t e r ( t ) , and the f u r t h e r in d ic a tio n

th a t e a c h q u a r t e r - n o t e is e q u a l to a m e tro n o m e m a r k in g o f 4 6 . The

u n c o n tro lle d r h y th m ic u n its a r e found w ith in m e a s u re s 2 0 , 2 1 , 2 2 , and

2 3 by o b s e rv in g th e p r o p o r tio n a l n o ta tio n (S e e G lo s s a r y ) o f the

e n tra n c e s o f th e v a r io u s in s tr u m e n ts . T o il lu s t r a t e th is p ro p o r tio n a l

n o ta tio n , th e w r i t e r s u g g ests an e x a m in a tio n o f m e a s u re 2 0 w h ic h

r e v e a ls th a t th e tu b as e n te r b e fo re th e b a r it o n e s , b u t w ith o u t an y

e x a c t tim in g o f th e s e o c c u r re n c e s b e in g in d ic a te d . In th e s a m e v e in ,

th e p ic c o lo w o u ld n o t e n t e r u n til a f t e r th e b e g in n in g o f m e a s u re 2 2 .

T i m e is a ls o c o n tr o lle d in by m e t e r (a n d m e tro n o m e ) w ith r e g a r d to

th e d r a s t ic a lly v a r ie d d y n a m ic s in m e a s u r e s 25 and 2 6 . O f n o te h e r e

is th e f a c t th a t th e c o m p o s e r a s s u m e d c o n tr o l o v e r the d y n a m ic s as

w e ll a t th e end o f m e a s u re 2 6 .

In th e v ie w o f th e w r i t e r , th e m o tio n o f th e s e sev e n m e a s u re s

b e c o m e s know n by o b s e rv a tio n o f th e in c r e a s in g ly m o r e r a p id o c c u r­

re n c e s o f e n tr a n c e s , th e c re s c e n d o , an d th e c lim a c t ic e ffe c t o f th e

c o m p o s e r 's d ir e c tio n " ff f" in m e a s u r e 2 6 . T h e D e s c r ip tiv e A n a ly s is

C h a r t (C h a r t 8 ) has been used to in d ic a te th e w r i t e r 's o b s e rv a tio n s o f

th is e x c e r p t. B e c au s e m e lo d ic rh y th m is im p o s s ib le to n o ta te

a c c u r a te ly , lin e th r e e o f th e c h a r t has been used to in d ic a te th e n u m b e r

o f in d iv id u a l e n tra n c e s w ith in e a c h o f th e f i r s t fo u r m e a s u r e s . T h is

p r o g r e s s iv e in c re a s e in the n u m b e r o f e n tra n c e s p e r m e a s u re p ro d u c e s

th e a u d ib le e ffe c t o f an a c c e le ra n d o . T h e c re s c e n d o th a t a c c o m p a n ie s

th e s e e n tra n c e s f u r t h e r enhan ces th e m o tio n w h ic h , in th e in t e r p r e t a ­

tio n o f th is w r i t e r , le a d s to re p o s e — c lim a c tic re p o s e — a t the end

o f m e a s u re 2 6 .
 198

E x a m p le 18

B r e n t H e is in g e r , S ta te m e n t, m e a s u re s 2 0 - 2 6 .

/cmc.

f erne.

X MCMMM. a.. Mr.

• 0 U M U M * AOtNT. SHAWNtl M it t , INC.. M lA W A N W A fft 0A». M 1 |) V
D escrip tive Chart of S ta te m e n t, measures 2 0 -2 6
199
 200

E x a m p le 19; m e as u res 3 0 -5 5

B e fo re p ro c e e d in g w ith th e d is c u s s io n o f m o tio n and re p o s e

in m e a s u re s 3 0 - 3 5 , the w r i t e r f i r s t w is h e s to id e n tify th e a le a t o r ic

e v e n ts , c la r if y in g those a sp e c ts o f e a c h w h ic h have been l e f t v a g u e by

th e c o m p o s e r. F o r e x a m p le , in m e a s u re s 3 0 -3 1 the c la r in e t p la y e r s

a r e in s tru c te d to hum th e p itc h A . S u b s e q u e n tly e ac h p la y e r is

in s tru c te d to m o v e to a d if f e r e n t p itc h . T h e r e s u lt is tw o a d ja c e n t

c lu s te r s o f h a lf-s te p s aro u n d the p itc h A , one p e r fo r m e d by s o p ra n o

and a lto v o ic e s , th e o th e r by te n o r and b ass v o ic e s . (W h en th e s e fo u r

v o ic e ra n g e s a r e n o t p re s e n t w ith in the c la r in e t s e c tio n i t s e l f , the

c o n d u c to r m ig h t " d r a ft" s o m e v o ic e s f r o m o th e r s e c tio n s o f th e

e n s e m b le . I f th is b ecom es n e c e s s a r y , th e c o n d u c to r should c o n s id e r

th e s e a tin g p r o x im it y o f those " d ra fte d " to th e c la r in e t s e c tio n b e c a u s e ,

in the v ie w o f th is in t e r p r e t e r , th e r e is a s p e c ia l e ffe c t c r e a te d w hen

th is h u m m in g is h e a rd fr o m one a r e a o f th e e n s e m b le . )

T h e " s ta te m e n ts in m e a s u r e s 3 6 th ro u g h 5 4 a r e to be chosen

b y in d iv id u a l p la y e r s fr o m e it h e r th e l i s t o f p o litic a l "s lo g a n s " p ro v id e d

by th e c o m p o s e r a t th e b eg in n in g o f the s c o r e , o r fr o m m o r e s ig n if i­

c a n t p h ra s e s th a t r e f le c t c u r r e n t p o litic a l c o n c e rn s . I t should be noted

th a t th e r h y th m ic n o ta tio n o f th e p e rc u s s io n and b ra s s p a r ts th a t s e e m

to a c c o m p a n y th e s e " s ta te m e n ts " is p r o p o r tio n a l.

T h e w r i t e r ’s in te r p r e ta tio n o f m o tio n and re p o s e in th is e x c e r p t

is b ased on h is o b s e rv a tio n o f : ( 1 ) th e s e q u e n tia l a d d itio n o f v a rio u s

 201

tim b r e s th a t f o r m a c o m p o s ite te x tu r e ; ( 2 ) th e p r o g r e s s iv e te x tu r a l

c o m p le x ity p ro d u ced by th e s e e n tra n c e s ; ( 3 ) the d e c re a s in g o f a c tu a l

tim e a llo tte d f o r e a c h m e a s u r e as in d ic a te d b y th e m e tro n o m e m a rk in g

in m e a s u re 4 0; and (4 ) th e c ontinuous e ffe c t o f a c re s c e n d o as in d ic a te d

by the c o m p o s e r and the c u m u la tiv e e n tra n c e s o f v a r io u s e v e n ts and

in s tr u m e n ts . A l l o f th e s e fa c to r s to g e th e r s e e m to c r e a te a s e n s e o f

fo r w a r d m o tio n to w a rd m e a s u r e 5 3 .

T h e a u th o r w is h e s to p o in t o u t the need f o r c a r e fu l c o n s id e ra ­

tio n o f th e v ib r a phone and x y lo phone p a r ts in m e a s u re s 4 5 - 4 9 and the

p e rc u s s io n p a r ts in m e a s u re s 51 and 5 2 . In both o f th e s e in s ta n c e s

th e c o m p o s e r has c a r e f u lly notated th e r h y th m . W h e n v ie w e d in the

c o n te x t o f so m u c h v a g u e r h y th m ic n o ta tio n as th a t w h ic h s u rro u n d s

th e s e o c c u r r e n c e s , th e w r i t e r fe e ls th e s e tw o " p h ra s e s " a r e im p o r ta n t

m o m e n ts . T h e f i r s t (m e a s u r e s 4 5 - 4 9 ) m ig h t be in s u re d p ro m in e n c e

th ro u g h th e c a r e fu l c o n tr o l o f d y n a m ic s in th e a c c o m p a n y in g a le a t o r ic

e v e n ts . T h is " p h ra s e " has r h y th m ic in t e r e s t w h ic h s e e m s to h a ve a

sen se o f m o tio n th ro u g h the end o f m e a s u r e 4 9 . T h e s e c o n d , a rh y th ­

m ic a l m o tiv e in m e a s u r e s 5 1 - 5 2 , m ig h t be p e r fo r m e d w ith a s e n s e o f

c lim a c t ic re p o s e , th e r e b y en h an cin g w h a t s e e m s to be c o n c lu s io n -lik e

o f th e l a r g e r - v t e w m o tio n th a t began in m e a s u re 3 0 .

M e a s u r e 5 3 , w h ic h is tw e n ty seconds in d u r a tio n , is th e c lim a x

o f th e m o tio n in th is e x c e r p t , so id e n tifie d by th e w r i t e r b ecau se o f its

le n g th and d y n a m ic s . W h ile c lim a c t ic , th e w r i t e r fe e ls a s e n s e o f

m o tio n w i l l be e v id e n t to th e a u d ito r b e cau se o f the v a rio u s ra n d o m

" a tta c k s " p ro d u c e d a s e ac h p la y e r b egins h is " s ta te m e n t" . F u rth e r­

m o r e , th e w r i t e r ' s in te r p r e ta tio n s u g g e s ts th a t the e n tra n c e o f the

s ix te e n th -n o te s s c o re d f o r th e p e rc u s s io n in m e a s u re 5 4 sh o u ld have

an o v e rla p p in g e ffe c t w ith th e ra n d o m m o tio n o f m e a s u re 5 3 . The

c o n tr a s t o f th e s e m o tio n s , ra n d o m and o rg a n iz e d , should be a u d ib le .

T o th is end th e c o n d u c to r m ig h t s u p e r v is e , n o t c o n tr o l, th e a c t iv ity

in m e a s u re 53 so th a t no r e p e t it iv e r h y th m ic m o tio n o c c u rs .

T h e end o f th e w h o le s e q u e n c e , begun in m e a s u re 3 0 , is in m e a s u re

5 6 den o ted by th e now o rg a n iz e d r h y th m ic n o ta tio n th a t b e g in s to

r e tu r n th ro u g h th e e n tir e b a n d . ^^ M e a s u r e s 4 6 —6 4 have b e en in c lu d e d

in E x a m p le 19 to illu s t r a t e th is v ie w .

^®In h is u n p u b lish ed c o m m e n ts re g a rd in g th e p r e s e n t a u th o r 's

w o r k , M r . H e is in g e r s ta te s " T h e c lim a x o c c u rs in m m . 5 6 - 6 2 w ith the
'u n b e a ra b le ' s c r e a m th a t d escen d s s lo w ly 'n o n - h u m a n '- l ik e . "
 E x a m p le 19

B r e n t H e is in g e r , S ta te m e n t, m e a s u re s 3 0 - 6 4
 204

E x a m p le 19, continued.

ond tfg irt y a h lug

I and bagin ipawing if.

Build fa • thou* by ~.IC
 205

E x a m p le 19, continued.

- *;iir

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tfca d v r a t la m • « n i l | M <
 206

E xam p le 19, continued.

m olto creac.

m olto

m o lto crenc.

m o lto crtBc.

j - 121-112

i w

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* * - * 1
 207

E x am p le 19, continued.
 208

THE STARS COME OUT

F R O M S T A R G A Z IN G
BY DONALD ERB

T h e w r i t e r 's c o n c lu s io n s w ith r e g a r d to m o tio n and re p o s e in

T h e S t a r s C o m e O u t ha v e been re a c h e d by c o n s id e rin g th e a u d ib le

e ffe c t produced b y the n u m b e r o f e n tra n c e s p e r second a s n o ta te d in the

s c o re . T h e r e a d e r w i l l re c o g n iz e th is a p p ro a c h as c o n s is te n t w ith th e

in te r p r e ta tio n o f m e a s u re s 2 0 - 2 6 o f S ta te m e n t. T h is e x a m p le has

been in c lu d e d in th is c h a p te r to d e m o n s tra te f u r t h e r th e w r i t e r ' s

ap p ro ac h to in te r p r e t in g m o tio n and re p o s e in d ic a te d by a le a t o r ic

e v e n ts . A s b e fo r e , th e D e s c r ip tiv e C h a r t ( C h a r t 9 , page 2 1 6 ) h as

b een used to n o ta te th e n u m b e r o f e n tra n c e s p e r s e c o n d .

T h e c o m p o s e r h as o rg a n iz e d th is m o v e m e n t (S ta r g a z in g is a

th r e e m o v e m e n t w o r k ) in s ix e q u a l m e a s u r e s , id e n tifie d by the boxed

n u m b e r w h ic h a p p e a rs a t th e u p p e r l e f t hand c o r n e r o f e a c h s c o re p a g e .

E a c h m e a s u r e is te n seconds in d u r a tio n , and th e p a ssag e o f e ac h

second is s c o re d as w h a t a p p e a rs to be a m o r e c o n v e n tio n a l m e a s u re

s e t o f f by " b a r " lin e s . (T h e c o n d u c to r in d ic a te s th e p a s s a g e o f e ac h

second in a m a n n e r s i m i l a r to d ir e c tin g b e a ts e q u a l to a m e tro n o m e

m a r k in g o f s i x t y . ) In c o u n tin g in d iv id u a l e n tr a n c e s , th e w r i t e r h as had

to m a k e ju d g m e n ts r e g a r d in g th o s e n o te s e q u a lly d iv id e d by th e " b a r "

lin e s , such as in c la r i n e t 3 , m e a s u r e 6 . W h en an e n tra n c e w a s ju d g e d

to be e x a c tly on th e l i n e , i t w a s counted in th e s u c c e e d in g g ro u p o f

n o te s .
 209

T h e w r i t e r has co n clu d ed th a t the m o tio n is c ontinuous th ro u g h

th is p ie c e . T h e in c re a s in g n u m b e r o f in d iv id u a l e n tra n c e s p e r m e a s u re

(s e e F ig u r e 9 ) p ro d u c e a r a n d o m - lik e a c c e le r a n d o , le a d in g to a re p o s e

in th e la s t " b a r . " T h is m o tio n is r e in fo r c e d by the m o r e r e g u la r

sound r e p e titio n s s c o re d in th e p ia n o and tim p a n i p a r t s . F u rth e r

e x a m in a tio n o f the n u m b e r o f e n tra n c e s w ith in e a c h " b a r " in d ic a te by

t h e i r i r r e g u l a r i t y , an u n d u la tin g m o tio n a c ro s s e a c h m e a s u r e . Som e

m o tio n is in d ic a te d by th e tw o ,, t h r e e , and fo u r note c h r o m a tic m o tiv e s

found s c o re d in in d iv id u a l p a r ts th ro u g h o u t th e m o v e m e n t. E v e n though

th e r e is e v id e n c e o f s m a ll m o tio n , the w r i t e r fe e ls th a t th e u n ity o f th is

p ie c e is b e s t p re s e n te d to th e a u d ito r as a m a c r o - v ie w , the c o n d u c to r

ta k in g g r e a t c a r e to p r e s e r v e th is s e n s e o f continuous m o tio n .

F ig u r e 10

In d iv id u a l E n tra n c e s p e r M e a s u r e
in T h e S t a r s C o m e O u t

M e a s u re N u m b er N u m b e r o f E n tra n c e s

1 24

2 42

3 63

4 115

5 199

6 390
 210

E x a m p le 20

D o n a ld E r b , T h e S t a r s C o m e O u t
fr o m S ta r g a z in g

STARGAZING
DONALD CRB
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R e p ro d u c e d by p e r m is s io n .
 211

E x am p le 2 0 , continued.

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 216

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 220

C h a p te r V I I

SUMMARY

D u rin g the p a s t tw o y e a r s ( 1 9 7 4 - 7 6 ) , the w r i t e r has p a rtic ip a te d

in a n u m b e r o f o rg a n iz e d p r o fe s s io n a l a c t iv itie s c o n c e rn e d w ith th e

c o n c e r t band and its l i t e r a t u r e . S p e c if ic a lly , th e a u th o r has ta k e n an

a c tiv e r o le in f o r m a l p an el d is c u s s io n s in w h ic h th e band d ir e c t o r 's

a p p ro a c h to s c o re p re p a r a tio n and in te r p r e t a t io n o f " a to n a l" band

li t e r a t u r e w e r e th e ite m s u n d e r c o n s id e r a tio n . In h is own c onducting

and band li t e r a t u r e c la s s e s a t R a d fo rd C o lle g e , th e w r i t e r has o b s e rv e d

th a t s tu d e n ts w ho d e m o n s tra te a f a m i l i a r i t y w ith m o r e tr a d itio n a l

m u s ic o fte n e x p r e s s a d e s ir e to know m o r e about th e in te r p r e ta tio n

o f c o n te m p o r a r y s c o r e s . T h e w r i t e r , h a v in g thus b e co m e a w a re o f

c o n c e rn s ab o u t s c o r e p r e p a r a tio n and in te r p r e t a t io n o f c o n te m p o r a r y

m u s ic as e x p re s s e d b y band d ir e c t o r s and s tu d e n ts , and c o g n iz a n t o f

th e a p p a re n t la c k o f a v a ila b le r e fe r e n c e m a t e r i a l to a s s is t in th e s e

ta s k s ; has d e v e lo p e d an a p p ro a c h to a n a ly s is th a t, in the v ie w s p r e ­

s en ted in th is d is s e r ta tio n , s e r v e s th e s c o r e p r e p a r a tio n needs o f th e

c o n d u c to r.

E s s e n tia l to th e p ro c e s s o f d e v e lo p in g th is a n a ly tic a l m e th o d

w as u n d e rs ta n d in g and d e fin in g th e g o a l o f th e c o n d u c to r in th e ta s k o f

s c o r e p r e p a r a tio n . T o th is e n d , the w r i t e r e x a m in e d the p u b lis h e d

 221

v ie w s o f s e v e r a l w e ll-k n o w n c o n d u c to rs , in c lu d in g E liz a b e th G r e e n ,

N ic o la i M a lk o , B e n ja m in G ro s b a y n e , P e t e r F u c h s , S i r A d r ia n B o u lt,

and M a x R u d o lf. A l l o f th e s e a u th o rs s e e m e d in a g re e m e n t: in o r d e r

to p r e s e n t a m u s ic a l w o r k , th e c o n d u c to r m u s t h ave a b ro a d v ie w o f th e

w o r k so a s to u n d e rs ta n d th e lo g ic o f its p ro g r e s s io n , f r o m b eg in n in g to

end. S e e m in g ly th e n , s c o r e p r e p a r a tio n should s e r v e to u n c o v e r and

en h an ce th is b ro a d v ie w . T h e w r i t e r 's a n a ly tic a l m e th o d a s s u m e d th is

p u rp o s e : to a s s is t th e c o n d u c to r in the d is c o v e r y and d e v e lo p m e n t o f

th is b ro a d v ie w . F o r th e p u rp o s e o f id e n tify in g th is g o a l, th e w r i t e r

d e ve lo p e d th e te r m " m a c r o - v ie w . "

T h e a n a ly tic a l m eth o d as p re s e n te d in th is d is s e r ta tio n sug g ests

th a t th e c o n d u c to r b e g in w ith a r e la t iv e ly ra p id s u r v e y o f th e e n t ir e

s c o re th ro u g h w h ic h he m a y a c q u ir e a "s e n s e " o f th e w h o le p ie c e he is

p r e p a rin g : a f i r s t m a c r o - v ie w . W h ile th is " m a c r o - v i e w , " based upon

th e s u r v e y o r 's " f i r s t im p re s s io n s " should n o t y e t be c o n s id e re d c o m ­

p le te , i t s e r v e s a s a guide th ro u g h the s ubsequent p ro c e s s e s o f m o re

d e ta ile d d e s c r ip tiv e a n a ly s is .

In th e d is c u s s io n o f d e s c r ip tiv e a n a ly s is th e w r i t e r has in tr o ­

duced h is c o n c e p t o f m e lo d ic r h y th m , a t e r m c o in e d to c o v e r th e c o m ­

p o s ite te m p o r a l ( l i n e a r ) e ffe c t caused by r e la tio n s h ip s am o n g m u s ic a l

e le m e n ts such a s m e lo d y , r h y th m , d y n a m ic s , t i m b r e , and t e x t u r e . It

is f o r the e x p re s s e d p u rp o s e o f enhan cing a c c e s s ib ility to th e c o n c e p t

o f m o tio n and re p o s e in " a to n a l" band l i t e r a t u r e , to th o s e w ho a r e

 222

s e e m in g ly m o r e f a m i l i a r w ith the c o n ce p t o f p h ra s e and c ad en ce

a s s o c ia te d w ith m o r e t r a d itio n a l m e lo d ie s th a t th e a u th o r h as chosen

th e t e r m m e lo d ic r h y th m . F u r t h e r m o r e , the w r i t e r b e lie v e s th a t the

e s s e n tia l id e n tific a tio n o f m o tio n and re p o s e , in h e r e n t in a n y s e q u e n tia l

p ro g re s s io n o f m u s ic a l e v e n ts , is b e s t d e m o n s tra te d w ith th e t e r m

m e lo d ic rh y th m b e cau se o f the tr a d itio n a l c o n ce p t o f p h ra s e and

c ad en ce im p lie d in th e t e r m m e lo d y .

In th e v ie w o f th is w r i t e r , th e p r i m a r y c o n c e rn o f d e s c r ip tiv e

a n a ly s is is the d is c o v e r y o f m e lo d ic r h y th m (s ), a c c o m p lis h e d th ro u g h

a r e la t iv e ly m ic ro s c o p ic in v e s tig a tio n o f th e s c o r e . T h e a u th o r suggests

th a t th e in fo rm a tio n u n c o v e re d in th is p ro c e s s be c o lle c te d in a s y s te m ­

a tic fa s h io n f o r l a t e r u s e . ( T o a s s is t in th is c o lle c tio n o f in fo r m a tio n

th e a u th o r has d e ve lo p e d a " D e s c r ip tiv e A n a ly s is C h a r t" found a s

F ig u r e 1 , page 1 9 ).

H a v in g thus c o m p le te d th e d e s c r ip tiv e a n a ly s is , th a t is the

n o ta tio n o f m e lo d ic rh y th m and la b e lin g o f o th e r ite m s s u ch as

d y n a m ic s , t i m b r e , t e x t u r e , and h a rm o n ic im p lic a tio n s ( i f any a r e

d e te r m in e d ), th e a u th o r s u g g e sts th a t th e D e s c r ip tiv e C h a r t be v ie w e d

w ith th e s c o r e i t s e l f in o r d e r to d r a w c o n c lu s io n s a b o u t in te r p r e t a t io n .

In r e g a r d to d ra w in g th e s e c o n c lu s io n s , th e a u th o r w is h e s to r e ­

e m p h a s iz e th e p u rp o s e o f th e c o n d u c to r's s c o re in v e s tig a tio n : to

u n c o v e r m u s ic a l r e s u lts in s te a d o f m e r e ly d is s e c tin g the c o m p o s e r's

c o m p o s itio n a l te c h n iq u e . C o n c lu s io n s then a r e based on th e c o n d u c to r's

d e te r m in a tio n s w ith r e g a r d to " id e n tify in g " m u s ic a l r e s u lts a n d ,

 2 23

s u b s e q u e n tly , h is in te r p r e t a t io n r e fle c ts th e s e d e c is io n s . H o p e fu lly ,

th e m o d e ls th a t c o m p r is e C h a p te rs I I I th ro u g h V I r e f l e c t th is v ie w .

T h e m o d e ls used to d e m o n s tra te th e w r i t e r ' s s c o re p r e p a r a tio n

p ro c e s s w e r e s e le c te d to r e p r e s e n t a v a r i e t y o f a to n a l band l i t e r a t u r e .

M a r t in M a ilm a n 's G e o m e tr ie s N o . 4 is in an u n u su al " f iv e - s id e d " f o r m

as d e fin e d by a p itc h c e n te r and t e x tu r a l v a r ia t io n s . S tu d y in T e x t u r e s

by G u n th e r S c h u lle r is a p r o g re s s io n o f o v e rla p p in g t e x tu r e s . T h e u se

o f a p r e r e c o r d e d e le c tr o n ic ta p e and a s e r ia liz e d tw e lv e -to n e ro w

p ro d u c e te x tu r e s w h ic h in flu e n c e c o n clu s io n s a b o u t th e in te r p r e t a t io n

o f H e r b e r t B ie la w a 's S p e c t r u m . L a s t ly th e w r i t e r h as a p p lie d h is

a n a ly tic a l te c h n iq u e to s e c tio n s o f w o rk s th a t a r e a le a t o r ic , ag ain

p o in tin g o u t the te x tu r a l r e s u lt s . In a ll o f th e s e m o d e ls te x tu r e has

b een r e la te d to m e lo d ic r h y th m . A c c o rd in g to th e v ie w o f th e w r i t e r ,

a w a re n e s s o f th is r e la tio n s h ip is one o f th e m o s t im p o r ta n t c o n s id e ra ­

tio n s in d ra w in g c o n c lu s io n s a b o u t a to n a l band l i t e r a t u r e because

te x tu r e is th e r e s u lt o f e it h e r s in g u la r o r c o lle c tiv e m e lo d ic r h y th m s .

T h is v ie w h as been illu s t r a t e d th ro u g h o u t th e d is c u s s io n o f a ll the

m o d e ls .

T o s u m m a r iz e , the w r i t e r 's a p p ro a c h to s c o r e p r e p a r a tio n is

founded on h is b e lie f th a t in h e r e n t in a l l m u s ic , r e g a r d le s s o f s t y le ,

p e r io d , o r m e d iu m , is m o tio n and re p o s e . F u r t h e r m o r e , i t is th ro u g h

th e a u d ito ry s e n s a tio n o f m o tio n and re p o s e th a t th e u n ity o f a p ie c e

b e co m e s c o m p re h e n d a b le . T h e s e e m in g ly o p p o s ite v ie w is a ls o tr u e :
th e c o m p o s e r's m a n ip u la tio n o f m u s ic a l e le m e n ts p ro d u c e s u n ity , and

w hen th e i n t e r p r e t e r p e rc e iv e s th a t w h ic h c r e a te s u n ity w ith in a g iv e n

p ie c e , he w i l l c o m p re h e n d m o re c o m p le te ly , m o tio n and re p o s e in th a t

w o rk . I f th is is s o , then in th e f u r t h e r v ie w o f the w r i t e r , m e lo d ic

rh y th m m u s t be d e te r m in e d b y th e c o n d u c to r b e fo re he c a n , w ith an y

v a lid it y , in t e r p r e t a s c o r e . Upon c o m p le tin g th is ta s k th e c o n d u c to r

can p ro c e e d in th e p re s e n ta tio n o f a u n ifie d , thus m e a n in g fu l p e r f o r m ­

ance. In e f f e c t , h e p re s e n ts w ith p e rc e p tio n and c o n tr o l, h is m a c r o ­

v ie w o f a w o r k .

T h e w r i t e r is hopeful th a t th e c o n cep ts p re s e n te d in th is d is ­

s e r ta tio n w i l l be o f a s s is ta n c e to th o s e band d ir e c t o r s w ho s e e k m o r e

k n o w led g e c o n c e rn in g th e s c o r e p r e p a r a tio n and in te r p r e t a t io n o f a to n a l

band l i t e r a t u r e , and to te a c h e rs o f c o n d u c to rs w ho m a y s e e k a m e th o d o f

d e v e lo p in g in t h e i r own s tu d e n ts p e rc e p tio n s th a t w i l l c o n trib u te to

s u c c e s s w ith th is s e e m in g ly d if f ic u lt body o f m u s ic .
 225

Appendix A

W O R K S S U B M I T T E D T O S T U D E N T S IN
T H E B A N D L IT E R A T U R E C L A S S
A T RADFORD C O LLEG E

1. B a d in g s , H e n k . T r a n s it io n s . Shaw nee P re s s , In c ., 1973.

2. B a s s e tt, L e s l i e . D e s ig n s , Im a g e s & T e x t u r e s . C . F . P e te r s
C o r p ., 1966.

3. B ie la w a , H e r b e r t . S p e c tru m . S h aw n ee P r e s s , I n c . , 1 96 7 .

4. E r b , D o n a ld . S t a r g a z in g . M e r io n M u s ic , In c . T h e o d o re
P r e s s e r C o m p ., 1969

5. F in n e y , R oss L e e . S u m m e r in V a lle y C it y . C . F . P e te r s C o r p . ,
1971.

6. H e is in g e r , B r e n t . S ta te m e n t. S h aw n e e P r e s s , I n c . , 1 9 7 1 .

7. M a ilm a n , M a r t i n . G e o m e tr ie s N o . 4 . O p . 4 3 . B e lw in M i l l s
P u b lis h in g C o r p . , 1 9 7 1 .

8. P e r s ic h e t t i, V in c e n t. P a r a b le . O p . 1 2 1 . E lk a n - V o g e l, I n c . , 1 9 7 4 .

9. S c h u lle r , G u n th e r. S tu d y in T e x t u r e s . A s s o c ia te d M u s ic P u b .,
In c ., 1971.

10. T u ll, F is h e r . R e fle c tio n s on P a r i s . B oosey & H a w k e s , 1 9 7 5 .

11. T u l l , F is h e r . S k e tc h e s on a T u d o r P s a lm . B oosey & H a w k e s , 1 9 7 3 .

12. W e s te r g a a r d , P e t e r . T u c k e ts and S e n n e ts . S i x E tu d e s f o r
S ym p h o n y B a n d . C o n tin u ed M u s ic P r e s s , In c . A le x a n d e r B ro u d e ,
In c . S o le A g e n t, 1 9 6 9 .

13. D e llo J io , N o r m a n . V a r ia n t s on a M e d ia e v a l T u n e . E d w a rd B .
M a r k s . B e lw in M i l l s , 1 9 6 3 .

14. Z d e c h lik , J o h n . L y r ic S ta te m e n t. N e il A . K jo s M u s ic C o . , 1975.

 226

15. S chu m an, W illia m . G e o rg e W a s h in g to n B r id g e . G . S c h i r m e r , I n c . ,

1951.

16. S c h o e n b e rg , A r n o ld . Them e & V a r ia t io n s . O p . 4 3 2 . G . S c h i r m e r ,

In c . , 1 9 4 4 .

17. H u s a , K a r e l. A p o th e o s is o f T h is E a r t h . A s s o c ia te d M u s ic P u b .,
In c ., 1971.

18. C re s to n , P a u l. A n a to lia . Shaw nee P re s s , In c ., 1968.

19. G ia n n in i, V i t t o r i o . D e d ic a tio n O v e r t u r e . F r a n c o C o lo m b o , I n c . ,
1965.

20. G ia n n in i, V i t t o r i o . S y m p . N o. 3 fo r B and. G . R ic o r d i& C o ., 1961.

21. P e r s ic h e t t i, V in c e n t. S ym p h o n y N o . 6 f o r B a n d . O p . 6 9 . E lk a n -
V ogel C o . In c ., 1958.

22. W a s h b u rn , R o b e r t. S y m p h o n y f o r B a n d . O x fo rd U n iv e r s ity P r e s s ,
1967.

23. E r ic k s o n , F r a n k . C h r o m a . S u m m it P u b lic a tio n s , 1 9 7 0 .

24. G o u ld , M o r t o n . P r is m s . G & C M u s ic C o r p . C h a p p e ll & C o . I n c . ,

1 97 2 .

25. D e llo J o io , N o rm a n . F a n ta s ie s on a T h e m e b y H a y d n . M a rk s
M u s ic C o r p . , 1 9 6 8 .

26. M e n o tt i, G ia n c a r io . O v e r tu r e & C a c c ia . d r r . P h ilip J . L a n d .

F ra n k o C o lo m b o , I n c . , 1 9 6 6 .

27. M ic h a u d , D a r iu s . S u ite F r a n c a is e . M C A - L e e d s M u s ic C o . , 1 9 4 5 .

28. S c h u lle r , G u n th e r. M e d ita tio n . A s s o c ia te d M u s ic P u b lis h e r s , I n c . ,

1965.

29. S n o e c k , K enneth M . S c a ra m o u c h , S y m . N o . 3 . Shaw nee P re s s ,

In c ., 1972.

30. N e lh y b e l, V a c la v . T r ittic o . F r a n c o C o lo m b o , I n c . , 1 9 6 5 .

31. P e r s ic h e t t i, V in c e n t. P a g e a n t. O p . 5 9 . C a r l F is c h e r , I n c . , 1 9 5 4 .

32. C re s to n , P a u l. Legend. M u s ic C o r p . o f A m e r i c a , 1 9 4 4 .
 227

33. M a ilm a n , M a r t i n . S h o u ts , H y m n s & P r a i s e s . O p. 52. Boosey &

H a w ke s , 1975.

34. P e r s ic h e t t i, V in c e n t. S e re n a d e F o r B a n d . O p . 8 5 . E lk a n -V o g e l
Co., 1961.

35. B e n s o n , W a r r e n . T h e L e a v e s A r e F a l lin g . P ie d m o n t M u s ic C o .
In c . M a r k s M u s ic C o r p . , 1 9 6 6 .

36. F o r s b la d , L e la n d . P r e r o g a tiv e s F o r B an d . H a l L e o n a rd C o r p . ,
1975.

37. L in n , R o b e r t. P r o p a g u la . C a r l F is c h e r , I n c . , 1 9 7 3 .

38. W h ite , D o n a ld . M in ia t u r e S e t F o r B a n d . Shaw nee P re s s , In c .,

1964.

39. O 'R e i l l y , J o h n . A r lin g to n F e s t iv a l M u s ic . A lf r e d P u b . C o . , 1 9 7 5 .

 228

Appendix B

GLO SSARY

A le a t o r ic - d e s c rib e s c o m p o s itio n a l fre e d o m g iv e n to the p e r f o r m e r

by th e c o m p o s e r. T h is fr e e d o m m a y be e xte n d e d to one
o r m o r e a s p e c ts o f a c o m p o s itio n , i . e . r h y th m , m e lo d y ,
h a r m o n y , d y n a m ic s , o r t e x t u r e .

A to n a l - d e s c rib e s th e body o f l i t e r a t u r e d e a lt w ith in th is d is s e r ta tio n

and d e fin e s i t a s m u s ic in w h ic h a tr a d itio n a l s e n s e o f k e y
has been w e a k e n e d , d e n ie d o r n eg ated ; a ls o m u s ic in w h ic h
no k e y g r a v ita tio n e v e r e x is te d .

D e s c r ip tiv e A n a ly s is - th e p ro c e s s o f o b s e rv in g and r e c o rd in g the

s y m b o ls o f a s c o re w h ic h d e s c r ib e a p ie c e o f m u s ic . A s
used in th is d is s e r ta tio n th e p ro c e s s s p e c ific a lly r e q u ir e s
th e use o f th e D e s c r ip tiv e A n a ly s is C h a r t to c o lle c t c e r t a in
in fo r m a tio n .

D y n a m ic s - used in a lim it e d p ro fe s s io n a l s e n s e d e fin e s th e loudness

and s o ftn e s s o f sound ( i . e . , in te n s ity ). B u t i t sh o u ld not
be o v e rlo o k e d th a t th e d y n a m ic s , i . e . m o v e m e n t-im p e llin g
d im e n s io n o f m u s ic , goes f a r beyond m e r e v o lu m e .

H a r m o n y - p itc h r e la tio n s h ip s based upon s o m e p r in c ip le o f o rg a n i­

z a tio n by w h ic h a n y and a ll o f th e s e r e la tio n s h ip s m a y be
e x p la in e d . P r in c ip le s o f o rg a n iz a tio n in c lu d e v e r t ic a l as
w e ll as s u b se q u e n t p itc h r e la tio n s h ip s .

H o m o p h o n ic - d e s c rib e s a te x tu r e in w h ic h tw o d is tin c t m e lo d ic rh y th m s
fu n c tio n , the m o tio n o f one being d o m in a n t to th e o th e r
w h ic h th e n s e r v e s as a fo r m o f a c c o m p a n im e n t.

M e lo d ic R h y th m - the c o m p o s ite te m p o r a l ( l i n e a r ) e ffe c t c au sed by

r e la tio n s h ip s am o n g m u s ic a l e le m e n ts such as m e lo d y ,
h a rm o n y , r h y th m , d y n a m ic s , t im b r e , and t e x t u r e .

M e lo d y - the a s p e c t o f m u s ic in v o lv in g p a r t ic u la r c o n to u r and p ro v id in g
u s u a lly m e m o ra b le d ir e c tio n to an y and a l l p itc h r e la tio n ­
sh ip s .
 229

M o n o p h o n ic - d e s c rib e s a te x tu r e in w h ic h th e m o tio n o f a s in g le
m e lo d ic rh y th m e x is ts .

P a le tte - a t e r m u s u a lly a s s o c ia te d w ith th e a r t o f p a in tin g to d e s c r ib e

a b o a rd w h ic h h o ld s the s e le c te d c o lo rs to be a p p lie d on a
c a n v a s . T h e t e r m is used in m u s ic to r e p r e s e n t the
s p e c ific m u s ic a l e le m e n ts u s ed by a c o m p o s e r in the
c o m p o s itio n o f a g iv e n p ie c e .

P a r a m e t e r - a p a r t ic u la r q u a n tity o r q u a lity o f m u s ic a l m a t e r ia l used

in c o m p o s itio n .

P o ly p h o n ic - d e s c rib e s a te x tu r e in w h ic h the m o tio n o f tw o o r m o re

m e lo d ic rh y th m s fu n c tio n w ith e q u al im p o r ta n c e .

P r o p o r tio n a l N o ta tio n - the in d ic a tio n o f d u r a tio n by g ra p h ic m e a n s

w h ic h a r e o th e r th a n those a c c e p te d as c o n v e n tio n a l
n o ta tio n . D u ra tio n is in d ic a te d by the h o r iz o n ta l s p a c in g
o f s y m b o ls w h ic h m a y s o m e tim e s be note heads id e n tify in g
p itc h on s ta v e s .

R h y th m - re g u la te d m o tio n to w a rd a s p e c ific g o a l. I t is the r e s u lt o f

re g u la tin g an y and a l l o f th e a s p e c ts o f sound as th e y e x is t
in t h e i r te m p o r a l s ta te and need not be lim it e d to the u s u a l
m e t r ic c o m p o n e n t o f a s c o r e .

T e x t u r e - th e c o m p o s ite a u d ito r y s e n s a tio n re p re s e n tin g an e x p re s s io n

o f one o f th e fo llo w in g , o r c o m b in in g any tw o o r m o re
ite m s , o r c o m b in in g a ll o f the ite m s : m e lo d y , h a rm o n y ,
r h y th m , d y n a m ic s , and t im b r e . I t is not one o f th e s e
th in g s , b u t e v e r y th in g .

T im b r e - th e p a r t ic u la r and e s s e n tia l c h a r a c te r is tic s o f tone c o lo r .

T o n a lit y - d e s c r ib e s m u s ic w h ic h r e la te s to th e Io n ia n d ia to n ic s c a le ,
th e m a jo r - m in o r h a r m o n ic v o c a b u la ry a s s o c ia te d w ith
th a t s c a le , i . e . th e t r i a d , and s u b s e q u e n tly , m u s ic th a t is
k e y o r ie n te d .
 230

Appendix C

C O M P O S E R 'S C O M M E N T S
AND LE TTE R S

T h e re a c tio n o f the c o m p o s e rs w h o s e w o rk s a r e used as m o d e ls

in C h a p te rs th r e e th ro u g h s ix w e r e s o lic ite d by the w r i t e r . Som e o f

th e c o m m e n ts m a d e w e r e s u b s e q u e n tly in c o rp o ra te d in to the te x t

its e lf. W h ile i t is n o t p o s s ib le to in c lu d e th e h a n d w ritte n n o ta tio n s

m a d e by D r s . B ie la w a and H e is in g e r , the in c lu s io n o f th is a p p en d ix

should s e r v e to p ro v id e th e r e a d e r w ith a m p le te s tim o n y as to the

u s e fu ln e s s o f th e g u id e lin e s p re s e n te d in th is d is s e r ta tio n .

T h e w r i t e r w is h e s to p o in t ou t th a t D r . B ie la w a 's c o m m e n ts

w e r e p e n c ile d in th e m a r g in s and te x t o f th e w o r k . H is c o m m e n ts

w e r e s u p p o rtiv e and in g e n e ra l a g re e m e n t w ith th is w r i t e r s

a n a ly s is .
 231
Figure 10

Letter from M a rtin Mailm an

in o rm inn

Denton. Texas
76203
To:Bennett Lentczner
F ro m : Martin Hallman
November 5, 1976

Thank you for sharing your dissertation with me. 1 shall return it in
the near future under separate cover. As I suspected when I talked to
you on the telephone, a meaningful discussion concerning the document
would best be conducted face to face and not by mail. Without getting
involved in any details, X will say that I think your general approach
is very good and the fact that you offer a systematic, method of
preparing a work is excellent.
It has been my experience that band directors frequently have no organized
means of dealing with new music and your paper certainly does offer them
a reasonable approach. I have done many clinics dealing with this very
problem as well as developing musicianship through the rehearsal and
so I appreciate your attention to the matter.

Thank you again for your in' ’

School o f Music
 232
Figure 11

L etter from Gunther Schuller

JVew “England Conservatory ofJVlu^ic

290 H untington Avenue. Boston, M assachusetts 02115 • (017) 202-1120

Office of the President

16 November 1976
Mr. Bennett Lentczner
Director
Radford College Highlander Bands
Radford, Virginia 24142
Dear Mr. Lentczner:
1 was delighted to learn that you had included an analysis of my
Study in Textures in your dissertation, and even more pleased with
the seriousness and thoroughness of your explication.
I appreciate the clear definition of terms and their consistency,
even rigorousness of application. If your analysis seems a little
overly statistical — and even"antiseptic” — I cannot really take
issue with that since you havetaken great pains to clearly define
the intentions and premises of your analysis, not pretending to be
all-embracing. It is just that out of the wealth of textural and
melody/rhythmic analysis, you don't seem to develop any "quality"
evaluation. By "quality" I do not mean even "artistic" quality,
but harmonic/melodic qualities to which the conductor's ears (and
hopefully the listeners') should respond and which a performance
must project if it is not to fail. It is like a clinical-scientific
analysis in which the soul or nature of the subject is not under
consideration.
Well, so be it. I respect your right to your premise. However,
since I am a strongly harmonic composer — perhaps, insofar as I can
be objective, the single strongest creative impulse in my composing —
the fact that your structural analysis avoids any discussion of the
harmonic process, its functional implications, and, for example, the
role of traditional triadic harmonies in an otherwiseetonal work, an
all-important set of "signals" for the conductor is being overlooked.
For example also, one would have to point out and understand that
the low F in the contrabass clarinet in measure 51 serves a harmonic-
cadential function much more than a>timbral one. Indeed, it is one
of many, many examples by which harmonic "qualities" define motion
and repose as much as melody/rhythm. This is not to argue your pre­
mise, but to say that there is a whole other one or a whole other
side to the piece not touched upon, and also necessary to the conduc­
tor in order to realize a meaningful interpretation.
On the other hand, I must compliment you on your accurate reading of
the macro-structure and the "motion-repose" patterns within the
large form. I'm sure you didn't intend it, but I hope your indenti-
fication of motion and repose elements will not be interpreted by
conductors as giving license to vary the tempo accordingly. For it
 i
\

233
Figure 11 continued.

is one of the characteristics of my music that — as you observed —

the variations and progression in melody/rhythm are already com­
posed into the music within a steady beat. Any arbitrary tempo
changes would undermine that concept.
I think I should point out to you that composers tend to be sensi­
tive. if not defensive, about statements such as yours on page 95
"in order to produce a complex effect." We have so often been ac­
cused of writing complexities for complexity’s ^ake that left un­
adorned and unqualified, such a statement gives me pause — even
admitting a touch of paranoia on this point. But beyond that, com­
plexity is a relative thing and one person's complexity is another
person's simplicity. "Relative density” would have been perhaps a
more appropriate term. Another way of putting it would be to point
out that I could have striven for an infinitely more "complex effect,"
compared to which that which you called "complex" would be easily
describable as "simple."
I think your assessment of what is foreground and background mate­
rial is quite correct. Very good is your point in thesecond para­
graph on page 128. Incidentally, I thought of thewhole Coda (mm.
77-86) as a large "repose" section. In this sense, "section C” is
more than a "review of what has taken place." It is rather a "sum­
mation" and a reposeful coda, in the sense that, in contrast to
the A section which moves forward — projects the piece forward —
section C "retards" that process and by its relative static-ness
makes the piece come to an end. Thus the macro-view could be illus­
trated as A - B - C , with the arrows indicating motion.
By the way, a typo exists on page 113, where itshould read, I be­
lieve, "from piano to forte”, not "flute."
Many thanks for your thoughtful work and letting me view it.

Sincerely,

Gunther Schuller
President

GSwr

J
 Figure 12

Memo from Brent Heisinger

OFFICE MEMO
• T O . 1 0 O IR K V . I l . o t l

DATKi
To:
U /U /7 6
Bennett Lentczner

P H O H Ii
From: i
Brent Heisinger .

Subject: (J

I like your dissertation topic, organization and—

content. I1m pleased to see this attention paid
to contemporary band music. I’ve Included a few
comments In the manuscript for your consideration.

STATE OF CALIFORNIA aei«*.?so ie .? « » . ooom o o i p

 235

B IB L IO G R A P H Y

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