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    Dallin,L - Techniques of Twentieth Century Music

    Copyright:

    © All Rights Reserved
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    Flag for inappropriate content
    Download as pdf
    48 views152 pages

    Dallin, L - Techniques of Twentieth Century Music

    Uploaded by

    Ratoci Alessandro
    Dallin,L - Techniques of Twentieth Century Music

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    Techniques of Twentieth Century Composition A Guide to the Materials of Modern Music SS Leon Dallin log se ey ‘Third Eaton WM. C. BROWN COMPANY PUBLISHERS Debuaue, ova ifr te Dee, Stamens one 957,286 04 by Lenn Dain Cad Nor 7-868 q Stored ins retical spe, or wane ay foro By ‘ee lctoni mechan, pci tera eee, ‘ute ann pon oe oi ace, Seats en To hose who made this book pestble— iy techars my students my ellos, snd most sppeily my ie, ‘who ethereal iter nthe fly, Contents PREFACE SUGGESTIONS FOR THE USE OF THIS BOOK INTRODUCTION SuggevelAvignnents 2 MELODIC CONTOUR AND ORGANIZATION Suge Asiennents 15 MODAL MELODIC RESOURCES Sapte Anignoents 2 ‘TWENTIETH CENTURY MELODIC PRACTICES Nonwct Mloitines 29 ‘Addon Sle Rerurces 33 ESpund Toray a Cetenporary Haron oan 8 Nanci betlng 30 StssetedAcconments St [RHYTHM AND METER Nenmecc Richins 55 Shing Acer 3? Changi Tine Signer Nenithynmic Corts 60 @ CHORD STRUCTURE a 15 IMITATIVE PROCHOURES nde ton nd Oi Nadie tein 8 Fah #8 Soened Asner 187 Nomen Snentes 92 Secomtel Anime 103 1M THE TWELVE-TONE METHOD 6.005. 2. HARMONIC PROGRESSION 1o0 Foreaton afte 199 ps Varaisohesees 19 Changs of Mere Quality nd Rot Rani 112 Trevefone Theme 95 Spur Aeignmerss 207 : m 15 TOTAL ORGANIZATION ‘Moise nd Tranaponion 12, Suggeted Aokanments 315 Shining Toney 12? Boat day 38 te Peiponaity "32 MICROTONES Fredonia 338 Seed Ascipiments 238 17 SPECIAL EFFECTS Special Vea Efe 226 ‘Fel lntronetal ate 25 SepgotelAorgnment 235 9. CADENCES a Motieg on 0 Uneercadenes Nonidet dings 240 Sapte ASgnents 18 18, INDETERMINATE PROCEDURES 30. NONHARMONIC MATERIALS us geen, 27 SugpstedAsipaments 153 fedeminicy 240 emul Mase 24 AL MOTIVATION OF HARMONY 156 StepetedAugnmente 267 Motivating New HamanieRescree 154 Hemonie Motationin Contemporary Rhythms 158 nm an R NEW MUSIC earths ELECTRONIC AND OTHER NEW MUS! Stapesed Asizents 165 Masigue Conc 259 Sound Secs 230, 12. THEMATIC METAMORPHOSIS 16 peel ae osx by Computers 5 Transposition ed Seuenee_ 16 Meta 50 Sytematc Molinos Cofour 268 : StapeedAsigements et SytematcModieaton of Rythn 370 ie GtherMaaicatone 173 Suggeted Aspens 178 ; 22, PRACTICAL SUGGESTIONS 1 waren coun courosmon eo - Preface Dane pate se Tria mn ong enh mat Contemporary Aptatons 378 thecighteh cenary and end ath that ofthe nine entry. Oder and never music deserve and are eciving added emphasis in clipes, inal co Universiti and shoo of music Ts Books devoted othe mica the wanted entry “The approach Is appropite for compares exploring contmporicy saloms for performers Tearing to cope with te anovations of modern ‘music and for teschers developing thee understanding snd agpcecaon ‘ofthe music of out tine, Al thre categories are served by th et Ir Aesigned to provide erential knowledge ofthe chai and mater of twentet-century mie and to brdpe the gulf between tdional {came training and arent practice. Courses in harmony and counterpoint ae prescribed for prospective composers, performers, and teachers ale. The stuly of composi ! Toil and necessary continaton. In conventional ms tech Proficiency and arstc dsrmination are acquired, aftr faaity though listening and performing, by analysing and wrtng Using the approach for medern marie complies these purpoors and eaves the Functional relationships between antiquated resoutes end the com temporary counterparts. Systematic wtliston af ew mater ny re tive overelses teacher composes fo wile the tunel language of time, performers to speak fy and lnteners to understand Tae inv lity of composers i asserted bythe choices hey mae fom theft Posies wen they are deliberately iniatng erable style, Be fides, individu snot zo mach something to sive for as something Which emerges spontaneoualy with matuly and technical Profiency Performers and aches turn othe partis pale before rescing this evel of atsinment, but thie mural insight i Immenaucbly ee "chedby temporay ansuming the oe ofthe composes, “The techniques and materiale of twenteth-cesary sia surveyed and ilstated with move shan 300 example dese exlsively fom the ‘works of recognized composes, The coverages ompretensive, and all "ignlian styles and procedures ate spresented The sources of he tmples are Mentied by composer, tle, page or movement date and publaker, and recordings not listed Inthe Seoorn Record and Tape ides are speciid. Ta Faitte the reading ofthe exalts by les Perlenced micas and oaake then ready payable onthe plano the treble anid baer lf ae ured Orch cores have Ben anapoed od ce, ith ew excepsons and unesental elements hive bch aie {Contemporary devices with dct snecednts tthe marie ofthe pat a enlained using conventional terminology and symbols The com- ovens of complos sonerties, for example ate aranged on the staf fo ‘evel ther undrying tacts, cbviating te ned fer anew sytem of alysis “The presen volume evalved from efforts extending bck to the 19408 to develop 2 lopcal and systematic presentation ofthe techniques and nate of tenteth-cntry musi to ases in composition sn theory. Teachers who Have specialized in he arta of msi ned compere whe se more interested in cresting nee works than in eatsing asym ‘tang thar knowledge forthe bonfit of students sould find equally falas a tect wish to expees my appreciation f the Races who ie Spire and tested the original eiton snd othe teachers whove sunt ons contributed to the present edition and whose adoptions made posible alo wish to thank the composers and publakers who gene ily granted permisaan to quot from copyrighted mock son alin Suggestions for the Use of This Book Tee exp ct al fant st Thea tena msc normed en ale ‘Hero nbs fre cme a ee neon ire Py emt Kas sae Das or hn he Spent sponte i of Spins pbs Ent puramans Reardig of wae wine ee coe, Mode sows Reef out Tge Cedi ree Sits eStart ewes ey SOOUTLNG.Tiad ye mca ol geen. Coe insincere ape ak Staph oop cn fe coset ays nt ees PS. Sean Wen cael ested eon iodine egal mdr ces sv we seed ‘cious nd cneben red cma Senate ejnue we teal peo of wma se Srna teebereiall stars ne Santen peas appa pet ems er Taner nd nef ined ein pene nd mach ub pl by sot il eagle aa sae feta dhbea. Ae picasa pre re wl te Ena ey snd seine te feet ass wath eerie ur masl is The pci rt el pro men mae wb found soul ss eeu an nd pes ms Sept tee Wepre epee se Fatma compen, hoever Hon oan ere Bleeder Taenee cottages Eigpatos re tne te on ‘spalvang and wing wil depend upon the objective, nee and bi ‘iso th students Courses in composition and moder music ae ofc at ferent evel ‘ith varying prerequisites. These studies can be undertaken sucrersl vith a minal background of tacltonal harmony, Teinng i oun Point otchesration and forms hlpel but ot een Is adit to ding speci assignment students should Be encour ‘ged odo fre ceative wing Inthe style most satura for thers othe ‘emant. Compositions shold be in forns and for mediums which sre familar and appealing, Even in the speed wing asignnenty the ‘retive and expressive aspects shoul be emphasized. The concep should br one of sound rather than of abstract oyna This anne of Thinking simulated by witng for» parts instrument o& ensemble Wik complete tempo, rang, dynamic, and articulation indeations ‘Whenever posible wntien exerciser shoul be played with da egard foc itepretaton on the isument(s) foe which they ae intended For ‘rata reasons much of the wtng Wil be fr plano, niche both ‘esate and accesible, 1s wise the erly stages to avoid extanenuy problems and to wrt for struments one plys sr wit whlch on Femi but before the endo the course al vache sources ining tlecuoni shoal be explored Stadents should ee and hear each thar’ work and patted ‘usin, Active participation motivate the clas, Analy the mistakes tnd sccmplshients of it members is informative and lamang ‘Sketchbooks of themati idear and files of cetveexeces sould be ruined as storehouses of raw mater for fare works The muse etlisive and ot always atthe composers beck and eal. ‘publi performance of new work is stimulating experience fo the ormposer and an illuminating wxpeince forthe pevirmers, The fll cele of compositions achieved only sehen a work as been conceived, writen, payed, and heard. Trough patcpaon inthe complet te. uence cmposes become intimately aware ofthe prc probs of Preparing and presenting their cores, This helps them fo dscover sale Ad effestive may of notatng and developing thei ea. I he perform nc is rcorded they have the ded antag of repented, nonce beatings and opportunites Yo evaluate thes works cjecely ater the heat of ceaton hat eooled. The vale of such experiences Cannot be sald by asta ntti, ‘The reasons forall serous student of music tobe info i thé ‘erie and mechanic of composition ar compe ing th 36 when oe Formers and even steers ar ineeasingly involved in the elation of socal evens and when avantyarde styles ave depating so raiealy from the sounds and symbols ofthe pat. Daring pods of diverty And change lke the present, becoming falar witha ofthe tends Aca bat important forthe oar ofthe art. One Sal suggestion the ality of which is most certin~the only nay fo lara fo compose Is ycomposing Introduction «Stoves sig in manly compe ses ese Spacek scepeny Sak tepals a agen pf prion ng Tipe nursed ple a eacse age Sebingnengh aie tlie coats SEP Se ig arena ee anna ai sg a atest ae ee oe ron pgs oar! Comper lisp my at he re hich ster te poe pA Se ow are te ceny yr apes ta cyan mmering ofa tenants becko Seay Seman riley ace caivanmemecl owe eee ‘int pfu Tn i pon doo ee Fr pel ny nr plane lpg nar ed Srl aftr See AR apes ar ey ae ort al br meetolop ee ee spicata pa of ea pe ag put acne eps Se Cipelnd dott so sibs ene a ee See ceen ayes ke peteraanareacies a ermal “he far rn Es ity of maw « peer 1 omplicites the problem of teaching composition, Pir experience = Performer and tener develope the abliy fo escie and cealunte fat eyo the aby to crete. It equrs patience om the part of the spt ing composer to develop his cave talents tothe pint where he fs Salsed With hs wn efors, During this developmental pero, it Feasurng to cele that the mock generally known of chen the retest fommposers come fom their mate esod and ae ot represenitve of ‘hei erist forts Actes a psfrner and tee are ieleble forthe compose, but they donot automatically provide hn with come Pstional si 1 further complicating factor i the strong emphasis on the muse ofthe romantic period sn our musi condoning. The musical fiom vith which we afe saturated il uted fo contemporary ess Inthe ‘yar the traditional theoretical ani provide ite ccc lp. low ve if creativity has ben encouraged ix prior theoreti sade nd de iline hasbeen based on general principles ater than on iid rules of " patclr syle the transition canbe made wth nina dele “The cute pracceof basing the erly theoreti taiing of ast fan on the musi ofthe dghteenth and ninetenth centuries ha head antages of vast Iteratare nich hs stood the test of hme and in which the material and procedures are reativey uniforms and comparatively ‘imple. No such advantages exist fr new muse, bu between te ol and ‘heey ies body of rentith-centuy tase which an be aalyeed and Aescrbed in terms of its elation to tational practices, Exploring thes elationships helps o bridge the gp between fare and unfar lar styles. The course cared onthe follwing pages ens from he post romantic idloms of the frst Ralf of this sentry to the most reent developments using apical undergradite background in foal meses point of departure. The suggested assignments fr thie chapter canbe ‘sed to assess competence in tralional ses and to tevel any deft ‘lence hat shouldbe emedied by ceview Suggested Assignments . | Hamonze te felowng ero melody i a conven! ura ste

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