3 9 Rhythm, Meter, and Form after 1945 paint eens bo mioidmndicnma lonies 901 Assignment 39,4 Analysis: John Tavener, “The Lamb” 0) ‘We analyzed portions of this choral piece in Chapter 38 in the chapter and homework; now we will look at the piece as a whole, Begin by listening to this work while following the score in your anthology: A. “The Lamb” has a sectional form, The end ofeach section is marked by a fermata followed by a tempo indication. The large formal divisions are given inthe following chart fill out the remainder of the chart. ‘For serial passages, include the voice part and segment labels—soprano (or $): Pp alto (or A): Tp, and 0 on. Use subsections to show where the seven-note row segments change. Ifno row is present, write ‘¢ For modal passages, determine the pe center and mode or scale type. Ifno scale is present, write ‘trastixxs | ComposrtioNat | mone SUBSECTIONS | ROWS (IF PRESENT) TECHNIQUE | GPRESEND | GORKOW | BY VOICE PART, SATB: | eases) | serial none 1 SP, then S:PrandAsl; a none a S:P5 then Ry none 56 S:P;, then By and Ai, then Rly modal E Aeolian none ~ | serial none 11412 SATB: P;, then S/T: P; and A/B: |; one 19.14 SATB: P), then Ry none 15.16 S/T PR) ABI Aly 7-20 | modal EAeolon | none B. Deseribe the pe structure ofthe opening: @) The opening measure suggests what key or mode and pe center major) (2) What isthe total pe content of measure 2? Letter names: _G AbAB EDF Fl 7890356 }(8) Write out the ordered letter names of the seven-note row segment: Letternames: GBAFHEFIAD pes: { 7696358 (4) How is the row’ pe content related tothe pes of measures 1-2? ‘They are the same, (6) What s true about the (unordered) pe content of Pas compared with 17? They are the same. C. Given the tonal implications of measure 1, what is surprising about the tonal structure of measures 5-6, and of measures 7-10? While the opening measure implies G lonian (or major), it is followed by nontonel serial material with all four forms of the row in measures 5-6. When a passage with tonal implications begins in ‘measure 7, it isnot in G lonian but instead in E Aeolian (or minor, the relative key). D. Measures 7-10 feature a pattern of pitch and rhythmic repetition that gives this passage a timeless character (GQ) Write a few sentences to explain how the rhythm is structured, what is repeated, how each measure is changed on its repetition, and how a sense of closure is attained. ‘Measure 7's pitch material is repeated S times ater inital statement. Measure 8 is identical to ‘measure 7 rhythmically In measure 9, the final pitch is lengthened from quarter to dotted-quartr, and then repeated as a quarter note. In measure 10, all durations are doubled: what were previously eighth-note durations are doubled to querter notes, and the fnal two notes are a dotted-half and hal. This lengthening helps create a sense of closure at the final cadence. (Tonally, the closure is supported by a minor vi eadence atthe end of each phrase) (2) What strategy might you use to count measures 9-10? What term applies to ths strategy (Chapter 5)? To perform measures 9-10 accurately, you should count in eighth notes. This is an example of additive rhythm and ametric music. E. How do the closing measures (mm. 17-20) relate to measures 7-10? What is the same and what is different? These passages are nearly identical except for a change in text. B08) Part IV ‘The Twontieth Century and Beyondr ee assignment 39.2 1b, “Los muertos lle lo nge Crum’ tos llevan alas de musgo” (“The dead wear snosay wings 9, from Madrigals, Book Lmm. 1-8. a recording of this work in your library, online, or listen to it 5s, while following the score on ne ge Thess Ue lorngenans to itasa dass, while following the el phere aro examples of changing meter in measures | 6-8 sue notated changing meters be audible to thelistener? ves | senyor why not? ‘rere no strong 6en88 of Mater of any sort inthis passage, although sore mensures do have an Mote pulse: With @ passage whose overall effect is ametre, itis dificult to perceive changing meter 3. based onthe tempo, notated rhythms, and performance instructions, wil any sort of regular beat be ep ina performance ellowing thos instructions? er wail aia wom pd inmeagures 3 and 6, there ere regular articulations on every other beat in the vibraphone part, which produces @ regular pulse. The spoken parts in measure 6 also conform to that beat. The other vrpasures have either tempo variations or not enough correspondence between attack points and the beets to make a reguler pulse, and attack points typically do not correspond to notated beats: therefore, the beat Is difficult to perceive. 6. The pitel intervals featured in the bass part are primarily ttitones, Pa, and seventh D. Look back at the notation of pitch, durations, articulations, and timbres, List atleast three elements that indicate this work was composed alter 1945. (Q) pizicato tremolo in the bass (2) vibraphone harmonics) (3) whispered text by both soprano and bass player (4) bass rhythmie notation (rm. 5) with built-in accelerando /itardando within a “ten-tuplet” ‘Write a few sentences about how these elements contribute to the overall aural effect of the piece. Be Prepared to discuss in class, ‘Answers will vary, This pice has a spooky, ere, exotic, other-woridly sound: All of these extended {echniques and distinctive timbres contribute to the soni eect. Chapter 89 Rhythm, Meter, ana Form after 1945 (UBB BsSygenetan aster eters amr arth See oe ERE SERS SINS ae may OTe rasa eH-0p= 4) emo on 508 Part IV. The Twontieth Century and BeyondAssignment 39,3 Analysis In each example given, identify the rhythmic or metric techniques shown Inthe discussion setion, wete a fev sentences that answer the following questions * Ifthe excerpt features metre modulation, how isthe tempo change made? + Titfeaturestime-ine notation, what isthe length of time in each unt of measurement? ‘+ What other rhythmic techniques (eview Chapter 38) can you find in each example? A. Elliott Carter, Canaries from Eight Piers for Four Timpani, mm. 136 (mm. 9-16) += 90 Sy nena Teno Techiniques:_metric modulation, changing meter, asymmetrical meter Discussion: The «boat units begin with a triple division consistent with 8, then move to a quadruplet division of the beat—four dotted sixteenths. The <. in the measure (m. 10) is made equivalent to the ¢)in the: following faster tempo. The meter signatures change from 8 to 8 to to B Bis en esymmetrcal meter (Chapter 39 Rhythm, Metes, and Form after 1945B. Kroysrtof Penderedki, Threnody forthe Vietims of Hiroshima, rehearsal numbers 64-66 ( ® cellos basses —e i j 10" ‘Techniques:_time-line notation, ametric Discussion: ‘Segment durations are 10 seconds, 6 seconds, and 10 seconds. This passage is also ametric because there are no patterns to establish meter. BAD) Part IV Tho'Twontioth Century and BeyondAssignment 39.3 (continued) ©. Carter, String Quartet No, 2, mvt. , mm. 54-60 Viatin | Vin 2 Viol] cat =F —— Techniques: nts anc Mr emeOAl tar Pinte ‘The shift in measure 57 to quintuplet divisions ofthe J best prepares the beat grouping of the meesure. In that measure, the cello part ends with ah, which prepares the beat unit of the following ‘measure, This exemple also features chenging meter and unusual asymmetrical meter signatures (8 and ff)—though itis unlikely the asymmetrical meter would be audible Ghapter 89 Rhythm, Meter, and Form after 1945 BHee D. Luciano Berio, Sequensa J, for solo flute, first two staves Play through this excerpt at the keyboard or on your own instrument (o listen to a recording online) then answer the questions that follow. (@) The tempo is indicated as «= 70. At that rate, this passage lasts about _16_ seconds. How did you compute the duration? “There are thirteen J durations, followed by a pitch sustained for'S seconds. In a tempo of ¢ = 70, each J lasts 1/70 of a minute. Since there are thirteen J durations, we get the proportion, 13/70. To ‘convert to seconds, the denominator must be 60: 13/70 is comparable to 11/60— duration of about 11 seconds. When you add the 5 seconds of the last note fermata, that means the whole excerpt lasts about 18 seconds. (2) Is there a strong sense of beat or meter in this passage? ‘This passage is ametric. Explanations should note that rhythms do not align with quarter-note durations (or eny other reguler duration). (8) Are there any repeated rhythmic patterns here? What effect does the lack of repetition of pattems have con the sound of the passage? ‘The passage Is remerkably devoid of repeated rhythmic patterns: other than the par of triplet “gnteenth notes in the middle of the first staff and the Jv pattern at the beginning, no rhythms are repeated. Answers will vary regarding the effect this lack of repetition has. Si Part TV The Twentieth Century and BeyondNAME signment 39.4 nalysis: Cathy Berberian, Stripsody, pages 10-14 em ein et Penne ae enn With bar an eal thera “grants, aa ame Pee ct aes ee nt eis wih bamard sounds and enw iby on by"). Page 11 includes one gosvertese questions. ‘crying, After studying the score, jpexeribe the rhythmic character ofthese pages. I there a beat or meter? fsa, 8 get eto male he sod asad? eit are re rhythmic activites, but only a beat or sense of meter i th prarmer decd to np imply one. ‘Te spacing ofthe sounds shows how cose in tim they ae o each other, 3. Whereis the most rhythmically etve portion ofthis passage? Where isthe last rhythmically active portion? : ‘se est part of page 11 features the most sounds per time span—it shouldbe the . most rhythmical active portion. The bottom of page 10, where the singer maintains silence, isthe least seal active portion. (Examine the sound content ofeach scene, Describe the story line” or “characters” in each seene. How syle listener distinguish one scene from another? Each scene includes particular types of sounds associated with it. The grunts and rumbles onthe top cf page 10 should sound quite distinct from the animal sounds on the top of page 11. The second strip tf page 11 shows what looks like a cowboys-and-Indlans shootout, followed by a baby crying, Get the ‘students to examine the sounds closely by creating each one in turn. stra challenges Try to perform this piece—itis much harder than itlooks! Il. Composition or Essay Complete one of the following creative exercises (your choice): a composition or essay ‘A. On the following page, write a “scene” of your own, using graphic notation like Berberians. + Choose a seenario (like the “barnyard sounds” and "baby" + Prepare a performance, making the representation of the sounds as + Plan to display the score while you perform the seene in class. that answers the question What ie musie? artistic as possible. 3B. On the following page, write @ paragraph or t¥o + Make sure your deftones any sound or acts thao este ih om those that you dont. they not music? Mention * Consider Mane a 39" inyor sey. As ider Maue’s In the Woods and Cage’ #' = sther recent work you know). atleast one other composition of your choice from| * Defend your ideas. Be prepared to discuss your essay in clas. nape 99 Python Meter and Form after 145 | TTgeore* Berberian, Stripsody, ant, Pages 10 and 14 Mm Li Chapter 89° Rhythm, Meter, and Form after 1945 oo} idAG Part TV The Twontioth Century and Beyondawe, _gsignment 89.5 palysif anions YOURE Composition 1960, No,2 ving score, then write a fl following S01 ite a paragraph in the space provi 2 pot sing text notation, this one may vay it Ct di em show consistent elements, too, iit sui oie infront ofthe audience. Preferably, use ood, although ther combustibles may be used as neceseary for starting the fire or controlling the smoke. The fire may be afany size, but it should not be the hind which i astociated ith another objet, such asa candle ora cigarette lighter The lights may be turned out, _After the fre is burning, the builder(s) may sit by and swatch it for the duration ofthe composition; however, he (they) should not st Between the fre and the audience in order that its members will be able to see and enjoy the fire ‘The composition may be of any duration. Inthe event that the performance is broadcast, the microphone may be brought up close tothe fire \Whatis the form of this piece? In your answer, consider which elements are variable and which will be the ssmein every performance. Also consider your aesthetic response tothe piece—which aspects appeal to sovend which do not, and why? As tolts form, the basic sounds of a fire beginning, catching hold, consuming the combustible materials, and slowly dying to embers are fairly consistent, no matter what the fire is made of or how ‘arge itis. This piece does have a consistent form. The duration of the piece, the exact sonic content, ‘and other elements, however, are variable. Some students may remark on the pleasant sonic qualities oflistening to the lick of e fire's flames (“a microphone may be brought up close!") and the relaxing ature of this performance event. Others may aigue that this is not music at al they should support thelr answer). ompR Mayan Fran 8 ™B. John Cage, Tico ‘This work is the frst ofa series of so-called “number” works that Cé 1987 until his death in 1992) that ae titled by the number of perform ‘All of the “number” pieces employ time brackets, which are interP the beginning of stalin indicates the span of time within whieh the note nt atthe end ofthe staff indicates the span of time within which the note must One Following ae the instructions given the performers of Teo alongwith she st oT ee ach part hasten time bracket, nine which are lil with respect to beginning ONE NT one the eighth whichis fied. No sounds tobe repeated within a bracket. In th pit PURE ina single staf isto be played in the order given, but ean be played in ay relation Wh) T a the other staff Some notes are held from onc ictus tothe next. tone in parentheses is ifitis already sounding, One hand may assist the other. age wrote atthe end of his life (from ers; Teo is for flute and piano. ted as follows: the time bracket at ote mst begin; the time bracket 0700" 0'45" —0'30" « » 1115" 0100" <-> 0'45" 0°30" <-> i — PP é s 4 ate fe fe S22 ——— eee P ————= Fiat Write a paragraph answering the following questions or prepare these questions for class discussion, as your teacher directs. (@) Consider the score’ notation. What about the notation is traditional? What is unusual? Is the score indeterminate? In what ways? (2) In what ways would performances of this score be the same? In what ways might they differ? (3) How would one analyze this work? What can be determined about it? What elements of the musie seem to be interesting for analysis? ‘The score employs standard pitch notation on a treble-clef staff, using note heads and accidentals to identify the precise pitches tobe played. The ordering of events on any individual staf is left to right. Pitches notated in chords are tobe played together, asa simultaneit. The temporal relationship of the notes on one staff of the piano part to those on the other is not determinate. The durations of events are indeterminate. There are various ways that the piano pitches and the flute pitch can combine, making multiple possibilities for simultaneities, and resulting in different performance realizations. However, there are a limited number of possible combinations, wiich can be analyzed as to pitch and interval content, including range and register. It could also be useful to enalyze several performances, comparing how they Interpret the information provided by the score, and to Consider how the performers incorporate silence, asi isnot possible to sustain the piano chords or fute tones ong enough to fil the 2 minutes end 15 seconds these two excerpts last. SAB Pact IV The Twentieth Contury and Beyondassignment 39.6 analysis: Stove Reich, Pano Phase, patonne 1-52 ie nafytical graphing sen to this ork we folloningthe corn jour antag «inthe alignment graphs on the following [ixteenth-note durations; the squares up payed by iano 1is marked with Xs ages the squares along the hori represent = orizontal (or x) axis the vertical (or) ans epesnt semitone The pttern 4 peginyour study ofthe piece by graphing th ‘ ‘nthe Xs. (When pianos 12 pate same terns ee ieee ae ‘Hignment 1, piano 2istacet (silent) for alignment 9, tis ieee ss eX win thf) Tor ; , its playing in ison wth piano. «+ Incach ofthe other alignments, piano 2 part shifts forward one sixteenth note ne square) Alignments 3 and 4 have been completed for you, irprtenel by « Complete the graphs for alignments 5-13, then listen care to then sen careily to th eee Jower pitches stand out, sometimes the upper ones. When you hear the piano pars beginning to shift, Tsten forthe next alignment, When you have ished circling the emerging hythmic patterns, below each graph write in rhythmic notation (with the sixteenth note as the basic unit) the rhythmic pattern you heard sguudents may circle different pattern for an alignment, with some heering the upper pitches and ome the lower. The rhythmic pattems they write should match what they have circled. In cass listen foreach pattern students have identified BB, What seale is implied by the pitch content of this section (patterns 1-82)? Does it sound major oF minor? “Jo most ears, this pitch pattern sounds minor—tke E minor because of the E4-FE4-B combinations (1.2.8) or 8 minor (4, 8,1, 2,3)—but this pentachord is also a subset of D major (2.8, 6, 7,1) and several modal scales. ©. Which melodie and harmonic intervals are formed asthe patterns realign? swith mary seconds In alignments 3, 5, 9, and The harmonic intervale change as the piece progresses, alignment 6 neudes unisons. The shiting 11. Alignment 4, in contrast, Features thirds and fifths, an Intervals create harmonic interest and variety: traditional cadential elements— wut there are no’ Shape and soon. How is the close D. The close of ths section sounds lke aeadencey bs falling melodie }armonie or intervalie resolution, longer note values, created? | pattern in unison 28 2 hing realignment to the original ape trappings of @tadwonel cadence, POMS In many Manon ote eye of patter siteor the etm (227 Most listeners hear the patterns eppro2c! ‘osing gesture. This realignment has none of Pattern-repetition minimalist pieces, the com> Intl idea creates closure. chaps 80, Rhythms Motes and Form after 948Alignments 1, 2, and 14 Alignment 3 Ds| = x Ds| o|x CIES X ¥ x OE: OE: [x x o|x at a ind * aeleaigl clades) o[x o[x o[x es[X] I | mlx o[x ° Aligoment 4 Alignment 5 Ds| Oo) (FLL ps{_ [oO = 6 x ox felix fol ix o x [0 x | x of _(xl_1 lol [x x o x o As at x|_fol_]=f lel Ix le x [0 x0 x | o| [= ot] mix o x o ligament 6 Alignment 7 D5| 0 x oO x Ds| x|o L.[xfe @ a 8 OE olx OE x| jo x, lo x0 x/0 At a a ® a ol o[x olx va[x[ [0 x{_fo xs[x]O x/0 520 Part IV. The Twentieth Century and Beyondase ee Alignment 9 By] ps o o| [x] [el fx a + olx 9 xo x = olx O]x w ft a L-t++Tol_ lx} pol |x cz o xo xo x]o Ly ® ofall Ble ox fp stigament 10 Alignment 11 oe | L] {lo x o x ® 5 = O]x O]x OE: mE oO} |x x o x o al aa a a ® olx O/x Olx lx at 1x. OL] mix o a0 ° Alignment 12 ‘Alignment 18 20 x] [0 XL] > x]o x]o o| Tx! fol [xf lor [x 9 xe bai = x] |o x| [oe x12 = a At x| fol fx! fol [xf [© xo ae xe 4D To zi ea] x0. x and Form ater 1945, Chapter 39: Reythm, Meter