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Unit 10: Music with Logic, No Emotion (Chapter 52 (Listening Guide 43:…

- - - - break from tradition
        
        dissonance does not have to resolve to consonance
        
        reject tonality (atonality)
  - - - Edward Munch
    - - wide melodic leaps
      - instruments in their extreme ranges
      - hyper-expressive harmonies
  - - - students Berg and Webern
    - - atonal-expressionist
      - twelve-tone
      - post-romantic
  - - - poems about Pierrot a poet/rascal/clown
      - bizarre and macobre
    - - Pierrot disturbed by a white spot on his black jacket; rubs and rubs but cannot get rid of it (it is just a patch of moonlight)
      - fugues, canons in accompaniment
    - - rondeau text with poetic/ musical refrain
    - - pointillistic, flickering instrumental effects
    - - voice with five instruments (piccolo, clarinet, violin, cello, piano)
    - - complex counterpoint with canonic (strict imitative) treatment
    - - 21 poems from Albert Giraud's Perriot lunaire, all in rondeau form
    - - harshly dissonant
    - - very fast, sounds free-flowing
    - - disjunct line, quasi-speechlike
- - - - new scales and harmonies
  - - - combined Asian instruments with Western ensembles
        
        music from Iran, India, Japan
      - foreign scales with western chords
      - pre-cursor to "prepared piano"
        
        tone clusters for piano
        
        group notes played with fist, forearm, and palm
        
        plucking piano strings directly
    - - proponent of microtones
        
        developed a scale with 43 micro-tones to the octaves
      - built/adapted instruments to play it
        
        cloud chamber bowls- made glass
        
        cone gangs (made metal)
        
        adopted Indian and African instruments to fit tuning
        
        gourd trees
        
        focus melody and timbre- not harmony
  - - - 16 sonatas in 4 groups- separated by interludes
      - for prepared piano
        
        materials inserted between the piano strings
        
        varied timbres
      - 1946-48 (performed in 49)
      - what to listen for
        
        texture
        
        the focus is on linear movement
        
        form
        
        binary structure (A-A-B-B)
        
        harmony
        
        minimal sense of harmony; dissonant ending
        
        expression
        
        evokes ethereal, otherworldly sounds
        
        rhythm/meter
        
        opening with regular movement, then changing rhythmic flow; seemingly with-out a clear meter
        
        timbre
        
        piano produces percussive effects, both pitched and nonpitched; varied tone quality and pitches
        
        melody
        
        irregular phrases, small=range, undulating chromatic line; second section is more disjunct
  - - - Lorca's poetry in his song cycle Ancient Voices of Children and in his four books of madrigals
    - - 1965
      - last of three songs in Crumb's second book of madrigals
      - poetry by Lorca
      - A-B-A
      - atonal
      - scored for soprano, percussion, and flute/piccolo
        
        extended techniques
        
        soprano whinny like a horse
        
        glissandos
        
        piccolo flutter-tongue
        
        whispering
- - - - process music- a few notes repeating over and over and often elaborating
    - - record snippet of audio then loop
      - changing speeds causes music to go in and out of phase
  - - - twelve guitars w/ pre-recorded tracks layered within
    - - texture
        
        highly polyphonic, with canons
      - form
        
        through-composed
      - harmony
        
        diatonic, mostly static with some subtle shifts; predominant chords are C major, B minor, E minor
      - expression
        
        an almost trance-like effect from the gradual addition and combination of regular patterns; striking moments created by subtle changes
      - rhythm/meter
        
        3/2 meter, 12 "pulse-units" also presented as 6/4 and 12/8; regular rhythms with varying patterns and accents in syncopation
      - performing forces
        
        live guitarist playing with 12 prerecorded tracks (2 bass guitars and 10 guitars)
      - melody
        
        short melodic ideas repeated as an ostinato