i-
THE SACRILEGE OF ALAN KENT,
A Monodrama In Nine Scenes
For Baritone Soloist,
Orchestra And Tape,
Text By Erskine Caldwell
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF PHILOSOPHY
By
David Warner Hutchison, B. Sac. Mus., M. Mus.
Denton, Texas
December, 1971 i-
THE SACRILEGE OF ALAN KENT,
A Monodrama In Nine Scenes
For Baritone Soloist,
Orchestra And Tape,
Text By Erskine Caldwell
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF PHILOSOPHY
By
David Warner Hutchison, B. Sac. Mus., M. Mus.
Denton, Texas
December, 1971 TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS ...... -.-.-....-.-.-.-v
ANALYSIS AND DISCUSSION 1 Brief History of Monodrama . . . ..-. ....-.-.-.-.-.-.-.-.-.-. 2 Background of the Text...... -...... -.--.-..-..- Dramatic Implications of the Text...... -.-.- 3 The Complete Text ...... --.-.--.-.-.--... 8 Structural Plan of the Music of The Sacrilege of Alan Kent . . . 10 Special Characteristics of the Music ...... 11 Orchestration ...... -.-.-.-.-.-.-.-.-.- 19 Analysis of Structural Design by Scenes ...... 27
APPENDIX...... -.-.-.-.-.-...... 57
BIBLIOGRAPHY.....-...... -.-.-...... ------.- ...... 60
THE SACRILEGE OF ALAN KENT (pages numbered separately)...... 1-129
Scene One: Prologue Scene Two: Blue Water, Old Cathedrals Scene Three: The Old Negro Scene Four: The Fire Scene Five: I Had No Playmates Scene Six: Sunday Scene Scene Seven: A Workman Scene Eight: Love Song Scene Nine: Epilogue
iv LIST OF ILLUSTRATIONS
Figure Page
1. Diagram of Areas for Two Basic Sets on An Open Stage 5
2. Diagram of Over-all Structural Plan of The Sacrilege of Alan Kent ...... - - - - 10
3. Whistling by Wind Players, Scene Four: The Fire, m. 4D: 7 ...... ------12
4. Loud Thump on Instrument Body, String Parts in Scene Five: I Had No Playmates, m. 5E: 5 ...... 12
5. Brass Players Talking through Instruments, Scene Seven: 13 A Workman, m. 7-I...... -..... 6. Improvisatory Passage, Strings, Scene Seven: A Workman, mm. 4D: 2, 3 ...... -. . . . . - - .-.-.
7. Improvisatory Passage, Muted Trumpets and Horns, Scene Seven: A Workman, mrn. 7D: 1-4 ...... - - - 14
8. Skip of an Eleventh, Solo Baritone, Scene Eight: Love 15 Song, mm. 8B:.....-.-... 1-3 ...... - - - 9. Melisma, Scene Six: Sunday Scene, m. 6G: 3 ...... 16
10. Vocal Trill, Solo Baritone, Scene Six: Sunday Scene, mm. 6F: 2, 3 ...... ------16
11. Short Vocal Trill, Solo Baritone, Scene Four: The 16 Fire, m. 4F ...... -.-.... -- - 12. Sprechstimme, Solo Baritone, Scene Five: I Had No 17 Playmates, mm. 5C: 1, 2 ...... - - 13. Spoken Text with Notated Rhythm, Scene Three: The Old Negro, m. 3B: 5 . ....-.-...... - - - 17
14. Melody on a "Blues" Scale, Scene One: Prologue, mm. 1B: 5-8 ...... 18
15. "Blues" Melody from The Introduction to Scene Eight: Love Song, mm. 1-5 . . . ..-.-.-...... 18
16. Pointillism in Low Strings, Woodwinds and Percussion, Scene One: Prologue, mm. lA: 4-6 ...... 20
17. Sound Mass, Multiple Divided Strings, Scene One: Prologue, mm. 1, 2 ...... -...... -- 21
18. Thick Scoring in a Totally Serialized Passage, Strings, Scene Seven: A Workman, mm. 7B: 5-7C ...... 21
19. Thick Scoring in a Tonal Passage, Scene Six: Sunday Scene, m. 7 ...... -....-....-....-.-.. - . 22
20. Low Strings, Woodwinds and Brasses, Doubled in Unison, Scene Two: Blue Water, Old Cathedrals, mm. 2A: 3, 4 ...... ------23
21. Motor Activity in Harp, Clarinets and Bass Clarinet, Scene Six: Sunday Scene, mm. 3D: 3, 4 . ..-- - - 23
V LIST OF ILLUSTRATIONS--Continued
Figure Page
22. Staccato Bass in Bassoons and Double Bass with Antiphonal Dialogue in Strings and Oboes, Scene Six: Sunday Scene, mm. 3D: 3, 4 ...... 24
23. Tape Sounds Resembling Effects in Strings and Winds, Scene Four: The Fire, mm. 4D: 1, 2 ...... 24
24. Text-painting, The Tape, Scene Four: The Fire, m. 4F....-...... 25
25. Text-painting, Woodwinds, Scene One: Prologue, mm. lC: 1, 2. ...-.-.-...... 26 26. Six Sections in Scene One: Prologue Recapitulated in Reverse Order in Scene Nine: Epilogue ...... 28
27. Tonal Harmony within a Jazz Idiom, Scene One: Prologue, mm. 1D: 5-7 ...... 28
28. Contrapuntal Entries in the Oboe and Horn, Scene One: Prologue, m. lE ...... 29
29. Tone-row Used in Scene One: Prologue, mm. lE-1H8 ...... 29
30. Progression of Seventh Chords, Scene Two: Blue Water, Old Cathedrals, mm. 1-6 ...... 30 31. Polychords Resulting from Superimposition of Thirds, Scene Two: Blue Water, Old Cathedrals, mm. lA: 1-3 ...... 31
32. Coloristic Orchestration, Final Chord, Scene Two: Blue Water, Old Cathedrals, m. 2C: 8 ...... 31
33. Twelve-tone Row, Scene Three: The Old Negro ...... 32
34. Harmonics in Cellos and Divided Double Basses, Scene Three: The Old Negro, mm. 31: 6-8 .-...... 33
35. Basic Tone-Row, Scene Four: The Fire ...... 34
36. Matrix Showing Basic Row Set-forms and All Intervals, Scene Four: The Fire ...... 35 37. Verticalization of Linear Relationships in the Original Row, Strings, Scene Four: The Fire, mm. 4A: 1-4B: 4 ...... 36
38. Typical Low Contour Melodic Line, Strings, Scene Four: The Fire, mm. 4A: 4, 5 ...... 37
39. Typical Melodic Line with Expanded Intervals, Strings, Scene Four: The Fire, mm. 4B: 4, 5 ...... 37
40. Polyrhythm, Horns, Scene Four: The Fire, mm. 4G: 5-4H: 1...... 39 41. Imitation on Three Different Rhythmic Levels, Scene Four: The Fire, mm. 4L: 1-4...... 39
42. Double Canon with Accompanying Theme, Scene Four: The Fire, mm. 4M: 1-8...... 40
43. Low Sonority for Flutes, Contrabassoon, Low Brasses and Tam-Tam, Scene Four: The Fire, mm. 4F: 3-6...... 41
vi LIST OF ILLUSTRATIONS--Continued
Figure Page
44. Klangfarbenmelodie, Woodwinds and Brasses, Scene Four: The Fire, mm. 4D: 3, 4 ...... 42
45. Tone-row, Scene Five: I Had.. 43No Playmates ......
46. Superimposed Minor Thirds Implied, Clarinets, Scene Six: Sunday Scene, mm. 6B: 3-5 .-.-...... 44
47. Tone Clusters Resulting from Superimposed Thirds, Woodwinds and Strings, Scene Six: Sunday Scene, m. 6B: 5...... -.-.-.-.-.-.-44
48. Bass-line Melody, Low Strings and Woodwinds, Scene Six: Sunday Scene...... -.-.-.--- 45
49. Rhythmic Alternation with Syncopation and Accents, Scene Six: Sunday Scene, mm. 6C: 1-4...... 45
50. Six Simultaneous Rhythmic Patterns, Scene Six: Sunday Scene, mm. 6D: 5, 6 ...... 46
51. Complex Sonority in the Brasses, Using the Twelve Tones of the Row, Scene Seven: A Workman, mm. 7B: 1-3...... -.-.-.-- 47
52. Imitation, String Accompaniment, Scene Seven: A Workman, mm. 1-6 ...... 48
Scene Seven: A Workman, 53. Reduced Tonal Structure, . . mm.1-4 ...... - . . . . . 48
54. System of Permutation Operations in the Rhythm Aligned with Pitches from the Tone-row, Scene Seven: A Workman, mm. 1-7A: 5 ...... 49
55. Stretto, multiple divided strings, Scene Seven: A Workman, mm. 7D: 5-8a...... 50
56. Three-note Sub-sets Derived from the First Nine Tones of the Row, Strings, Scene Seven: A Workman, mm. 7D: 5-9 ..-...... -.-...-.-..... 50
57. Six-note Source Sets in an Aleatory Passage, Brasses, Scene Seven: A Workman, mm. 7D: 1-9...... 51
58. Wedge-shaped Tone-row Formation, Trumpets, Scene ...... 52 Seven: A Workman, mm. 7G: 4 . . .
59. Dense Sonority Resulting from Amalgamation of Rhythmic Patterns, Strings, Scene Seven: AWorkman, mm. 7H: 2,3...... 53
60. Chord Progression with Analysis, Accompaniment, Scene Eight: Love Song, mm. 8A: 1-5 ...... -.. 54
61. Melodic Writing, Solo Baritone, Scene Eight: Love Song, mm. 8B: 1-3...... 54
62. Reversed Pitches, Flute Figures, Scene Nine: Epilogue, m. 9L: 1...... -.--55
63. Comparison of Texts Utilizing the Same Musical Phrase, Scene One: Prologue, mm. 1G: l-3a and Scene Nine : Epilogue, mm. 9J: l-3a ...... 56
vii ANALYSIS AND DISCUSSION
Brief History of Monodrama
The Sacrilege of Alan Kent is a monodrama in nine scenes for baritone soloist, orchestra, and tape. This composition may be presented either as a dramatic or concert work. From the standpoint of a dramatic form, The
Sacrilege of Alan Kent may be considered an opera for one performer in nine brief scenes or vignettes. As a concert work, it resembles a song cycle.
Only brief references to the term monodrama appear in some standard reference texts on music history research. In the late eighteenth century,
Cimadoro introduced into Italy the so-called'monodrama'which resembled an earlier type of drama with music produced by Rousseau.1 Here and through- out its morphology, the term is often related to the term'hielodrama. 2
Grove defines melodrama as "a kind of dramatic composition, or parts of a work in which the actor recites his part while the orchestra plays a more or less elaborate commentary on the situation of the moment."3
The term as applied to a select type of solo dramatic musical form is distinguishable in three works by Arnold Schoenberg: Pierrot Lunaire
(1912), Die Gl1ckliche Hand (1910-1913), and Erwartung (1909). Pierrot
Lunaire is labeled, "21 Melodramas With Music"; Die GlUckliche Hand is a
"drama with music." Erwartung is specifically titled, "a monodrama." 4
The textual treatment in Pierrot Lunaire and Die GlUckliche Hand corresponds more closely with melodrama as defined above. There is considerable use of Sprechstimme and ordinary speech. There is no
Sprechstimme in Erwartung. Furthermore, the method of dramatic action
in Erwartung differs somewhat from that in Pierrot Lunaire and Die
GlUckliche Hand; in Erwartung the story unfolds much like a typical opera plot.
1Alfred Loewenberg, "Cimadoro," Grove's Dictionary of Music and Musicians, Vol. II, 5th ed. (New York, l954).
2Willi Apel, "Melodrama," Harvard Dictionary of Music (Cambridge, 1953).
3(Sir) George Grove, "Melodrama," op. cit., Vol. V.
4Hans Heinz Stuckenschmidt, "Schoenberg," Die Musik in Geschichte und Gegenwart, Vol. XII, (Issel, 1965).
1 2
Background of the Text
The text of The Sacrilege of Alan Kent was adapted from a book published under the same title by the well-known American author, Erskine
Caldwell.5 Originally published separately in three sections, the format featured short numbered paragraphs comparable to the epiphanic form of
James Joyce's early writing style.6 Nine passages selected from the section "Tracing Life with a Finger (1929)," representing only a fraction of the complete text, provide a libretto for this music drama as well as a summary of Caldwell's work.
As a writer of many novels and short stories, Caldwell has often vividly pictorialized post-Civil War life in the southern United States.
His characters reflect a sense of the tragic, morbid, and depraved, associated with people who know poverty; the defeated poor white share- croppers and the Negroes persecuted and exploited by their white neighbors are frequent subjects in his stories.
A remarkable aspect of Caldwell's style is the manner in which his subjects dissolve into mere images or shadows. Pure narrative diminishes into vague impressions of past events. James Korges comments that "the central character recalls moments made sharp by intense feeling, whether of pain or joy." 7 The central figure is both a detached observer and a victim of circumstances. Many details are missing in the action; questions are left unanswered. In The Sacrilege of Alan Kent the chief character is never identified by this name in the text; time, age, and locale may be deduced only from vague hints in the narrative. As Korges says, "the moments are not idyllic; the tone is often downright grim: life is a sacrilege, we live in pain and hurt." 8
In general, the nine scenes extracted from the complete text for this work comprise a narrative account of the central figure from birth to young manhood. Scene One relates his birth; Scenes Two through Seven relate his childhood impressions; Scenes Eight and Nine depict young
5 Erskine Caldwell, The Sacrilege of Alan Kent; first published by Falmouth BookHouse (Portland, Maine, 193), republished by the New American Library (New York, 1958), pp. 9-32.
6 Richard Ellmann, James Joyce (New York, 1959), pp. 87-89. 7 James Korges, Erskine Caldwell 'inneapolis, 1969), p. 11.
8 Ibid. 3
manhood. The passages chosen from "Tracing Life with a Finger" are correlated with the texts for each scene as follows: Paragraph 1--Scene
One: Prologue; Paragraph 13--Scene Two: Blue Water, Old Cathedrals;
Paragraph 8--Scene Three: The Old Negro; Paragraph 9--Scene Four: The
Fire; Paragraph 18--Scene Five: I Had No Playmates; Paragraph 7--Scene
Six: Sunday Scene; Paragraph 17--Scene Seven: A Workman; Paragraph 36--
Scene Eight: Love Song; Paragraph 37--Scene Nine: Epilogue.
The text is used by written permission of the author. Titles for the nine scenes were contrived by the composer and do not appear in the original text. Certain minute deletions and alterations have been made by the com- poser to accommodate the setting of the vocal line. These are shown in the complete text on pages 8 and 9.
Dramatic Implications of the Text
Although the text of The Sacrilege of Alan Kent lends itself to
dramatic expression, certain problems are inherent in the nature of the
work. First, the shift from narration to reflections from subliminal
consciousness is difficult to dispatch without the use of dialogue.
Unlike many other modern dramas or operas in which at least two characters
convey intense emotions as well as ephemeral events through conversation,
the dramatic element in The Sacrilege of Alan Kent rests on monologue. 9 Schoenberg's setting of a text written by Marie Pappenheim for Erwartung
portrays a woman, who "seeking her lover in a black wood, comes upon or
imagines she comes upon his dead body, and pours out around it her loves
and fears and jealousies."10 The portrayal of "intimate horror"ll in this
work is found similarly in several sections of the complete text of The
Sacrilege of Alan Kent. Elements of terror, morbidity, and misery appear
in both works. However, the plot idea in Erwartung is less evident in
Caldwell's text. Instead, the author has provided, at best, a story line,
a panorama or miniature odyssey in which the reader is subjected to
12 "tricks of memory," along with narrative. This change from the conscious
9William Austin, Music in the Twentieth Century (New York, 1966), p. 219.
1 0 Joseph Kerman, Opera as Drama (New York, 1956), p. 229.
llAustin, op. cit.
12 Korges, op. cit. 4
to the subconscious is typified in Scene Six: Sunday Scene. Here, a simple recital of a moment in a church service from the life of a minis- ter's sonl 3 merges into a flashback of a freakish accident ending in the sudden violent death of the boy 's aunt; feelings of anxiety resulting from the boy's sense of lost love and detachment from his father up to the time of the incident intermingle with the relating of it.
Another problem involved in the staging of The Sacrilege of Alan
Kent is that some of the scenes depict different events in the life of the central figure. In the bulk of the work, the subject matter changes drastically from scene to scene. For example, the bizarre spectacle of the dismembered body of a man killed in a mine accident in Scene Seven:
A Wor1man is followed by the serene, ethereal mood of Scene Eight: Love
Song. The problem, simply stated, is one of recreating on an open stage a different setting for at least six out of the nine scenes without a break in the action.
Schoenberg encountered a similar problem in the staging of Erwartung.
Having specified three scene changes without the benefit of orchestral interludes, he outlined a solution to the problem of resetting the fourth scene in a letter to Ernst Legal of the Kroll Opera in Berlin. He drew up a stage plan, replete with models for the design of several small turn- tables to facilitate the rapid rearrangement of objects in the set to fit the needed scene change.l4
Like Erwartung, no interludes are provided in the score of The
Sacrilege of Alan Kent for scene changes. The open staging of the work
could be expedited by locating basic sets in two or three areas on the
stage. Since only one performer is involved, the floor space for each
set could be limited proportionally. The stage could either be divided
into two halves or, on a large stage, three areas, left, center and right,
might be utilized. Tormentors, or legs, might be used to mask off the
1 5 sides between sets using black velour. Irrmediately after use of one of
13It is interesting to note that Caldwell is the son of a well-known Presbyterian minister. Korges, op. cit., p. 7.
14Josef Rufer, The Works of Arnold Schoenberg, translated by Dika Newlin (Glencoe, l963),p. 35.
15James Gilbert, professor, drama department, private interview, New Mexico State University, Las Cruces, New Mexico, February, 1971. 5
the basic sets for a specific scene, it could be rearranged for an ensuing scene. Darkening of the stage area over the set just used would permit it to be altered during the performance of the ensuing scene in an adjoining set. Thus, the performance could progress without interruption for scene changes. A diagram of a floor plan showing areas for two basic sets is given in Figure 1.
Fig. 1--Diagram of areas for two basic sets on an open stage
The visual effects required in each scene could be achieved without visible dividers by a more recent method of stage decoration, projected
scenery. Scenes on hand-painted or Ektachrome slides are projected on a translucent screen behind the stage or an opaque screen from above the
stage.16 A greater illusion of depth or space can result from either
front or rear projected scenery, even on a small stage.1 7 Projected
scenery can either be combined with existing scenery onstage or sub-
stituted for it.
Similarities in action, mood, and surroundings between some of the
scenes in The Sacrilege of Alan Kent permit the recapitulation of certain
stage effects with some alteration. Specifically, the following are
closely related as to staging, including scenery and properties: Scene
One is related to Scenes Three and Nine; Scene Two is related to Scene
Six.
l6Thomas Wilfred, Projected Scenery; a technical manual (New York, 1965), p. 43.
17 Ibid., p. 2. 6
In Scene One: Prologue, a setting showing a cabin from an inside or outside view would be required. The words of the text are, "Hurrying cold water dripped through the rotten pine shingles and spattered wet the worn pine floor." The scene is one of a birth inside an old cabin. Accordingly, in Scene Three: The Old Negro, the central figure (soloist) describes the locale thus: "As we passed the cabin . . . ." No locale is specifically described in the remaining related scene, Scene Nine: Epilogue. However, the reappearance of a cabin image resembling Scene One: Prologue would seem to be consistent with the cyclic plan of the entire drama.
Scene Two: Blue Water, Old Cathedrals and Scene Six: Sunday Scene share the symbolic idea of a church. The text for Scene Two indicates an outside view or silhouette of a steeple, spire, or complete building, whereas Scene Six is inside a church. A few realistic properties, for example pews or a pulpit, could be placed in front of a distant view of a church for Scene Six. The two scenes could thus utilize the same basic setting. A lake or seascape with a cathedral or church outlined in the distance would properly illustrate the idea of title and text for Scene
Two: Blue Water, Old Cathedrals. In all of the above correlative scenes, a combination of projected scenery showing the symbolic image with real properties upstage in the setting could be very effective.18
The technique for staging the remaining four scenes would indicate a more specialized approach to scenic design. Scene Four: The Fire might well be the most remarkable of all the scenes in The Sacrilege of
Alan Kent from both visual and musical standpoints. In addition to a house, which might be a silhouette or image borrowed from previous settings, a fire must be vividly represented. Although fire scenes are difficult to produce onstage, a glow on some form of rising smoke would suffice.19 Lighting effects would appear to be an essential part of this setting. The manifold possibilities for dramatic effect available through modern lighting equipment and techniques could well be applied in the setting for this fire scene.
l8 James Gilbert, private interview, February, 1971.
19W. Oren Parker and Harvey K. Smith, Scene Design and Stage Lighting (New York, 1968), pp. 377-378. 7
Programming of the action in Scene Four: The Fire includes a magnetic tape which functions along with the orchestra as an expressionistic accom- paniment for the soloist. At the onset the auditorium and stage area are completely darkened. The wailing of sirens is heard; fingers of red light gradually flicker and rise, bursting around and in back of the house image.
Throughout this scene and up to the fading of sound and lighting toward the end of the scene, changing colors and flickering lights would greatly enhance the illusion of tension and terror. Technical features for a large stage production of this scene might involve the use of a cyclorama or sky-cloth, if a plaster cyclorama is unavailable, thereby lending the illusion of space.20 Even without a cyclorama the effect of space can be created on a screen by front or rear light projection.21
Similarly, the ethereal, dream-like atmosphere of Scene Eight:
Love Song might involve a full stage production giving the appearance of expansive distances, such as sky, space,or clouds.
Scene Seven: A Workman is a bizarre vignette in which the sense of foreboding and gloom should be overpowering. The stark elements of gory death by tragic accident, preoccupation with the grisly aftermath and morbid curiosity of the central figure are intermingled in this scene.
Grotesque lighting and scenery with elongated objects and shadows seem to be implied in the text. By using a high-intensity carbon arc spot- light to produce ultraviolet effects with a black-light filter, weird, grotesque effects can be achieved.22
Additional technical aids for the production of effects desired in some of the scenes might include the use of a direct beam projector and color modifier with skydrum. Drifting clouds and other mobile shapes may be painted on the skydrum and projected onto a screen or wall.23
The action in Scene Five: I Had No Playmates could be highlighted by a complete absence of formal staging. For this scene the soloist might depart from the setting, come forward to the stage apron or
20 Stephan Joseph, Scene Painting and Design (London, 1964), pp. 25, 26.
21 James Gilbert, private interview, February,1971.
22Parker and Smith, op. cit., pp. 376, 377.
23Wilfred, op. cit., pp. 19-23. 8
footlights and sing the one simple sentence which forms the center of this miniscule vignette, "I had no playmates," thereupon returning to the stage setting for the remaining four scenes. This detachment of Scene Five from the whole drama would articulate its central position in the nine scenes, as well as provide a break in action after Scene Four: The Fire, with its potentially complex staging, and a sharp contrast with Scene Six:
Sunday Scene.
In planning the staging of The Sacrilege of Alan Kent, the choice between an illusionistic type of stage design and one with simpler settings will depend upon such factors as the dimensions and type of stage available as well as the location of the large orchestra required. In any case, an essential of the design concept is that, since only one actor is onstage, the scenic settings must not be overpowering.
At the top of the title page for each scene in the score of The
Sacrilege of Alan Kent, a synopsis appears, relating mood, background, and story idea.
Complete Text of The Sacrilege of Alan Kent
Scene One: Prologue
It was the middle of the night deep in December. Rainwater had soaked the red earth so that the world might bleed to death. Hurrying cold water dripped through the rotten pine shingles and spattered wet the worn pine floor. The worm- eaten slats under the rusty springs of the bed crashed to the floor and there was I 24 born.
Scene Two: Blue Wter, Old Cathedrals
On the shore of a blue bay we lived in a large hotel and went each morning to old cathedrals and each afternoon to the water. My mother loved old cathedrals and my father blue water.
Scene Three: The Old Negro
In the alley at the back of our house lived an old negro with his two wives. When my father took me walking in the woods we passed the cabin and my father whispered, "They have only corn-bread made with meal and water to eat . " The old white-haired man smiled and grovelled in the red dirt while we passed, and I looked over my shoulder at him curiously and pityingly. Afterwards I stole, from my mother, potatoes and mustard and vinegar for them to eat.
24Reversed to read, "I was." 9
Scene Four; The Fire
My mother saw from her bed the reflection in the sky of red wind-fanned flames. She carried me out into the street and we sat down in the red mud shivering and crying; my dog ran from window to window pawing the glass while the flames ate his bare skin. My father went back after him, but before he reached the door the roof fell in. I ran towards the house for my dog, but my mother jerked me back in her arms. I wept, crying, "Thor! Thor!" My dog cried all that night and the next and the next.
Scene Five: I Had No Playmates
I had no playmates.
Scene Six: Sunday Scene
I sat with my mother near the organ on Sunday while my father preached from the pulpit 'way up above us. When he finished preaching and looked down, every one went up and put his hand in my father's except my mother and me. My father never shook hands with me until after his sister fell out of the window and cut off her neck with a hoe.
Scene Seven; A Workman
A workman in the quarry behind the ridge was blasted hundreds of feet into the air and I ran over to see him. His wife was there and so were his children. She carried home in his dinner-box all of his body she and the chil- dren could find. The oldest girl the next morning found a part of his foot and it was interred behind the woodshed that night tin a lard pail)25 with the other parts. The next afternoon one of the workmen at the quarry asked my father, "Is it true the world is sure enough round?"
Scene Eight: Love Song
When I broke out of jail I started walking and went almost a thousand miles before I stopped. I was sitting down to rest (a while) when I saw a girl running away off. I jumped up running after her. She was naked and hid behind a hill. I lifted the hill in my arms and tossed it over the edge of the world (and picked her up tenderly) and whispered, "I have been looking all my life for a girl like you, with brown legs and white breasts and hair like gold in sunshine." While she kissed my lips, I laid her on a cloud. Wien I opened my eyes, the cloud had floated away and she was gone.
Scene Nine: Epilogue
Ever since then I have been tired. Oh, my God, how tired I am! The days are long--long. The sun rises like a bat out of hell and roosts forever in the sky biting my eyeballs with its black gums, and the blood of me drips all over the world.
25Words and phrases in brackets were deleted from the musical setting. 10
Structural Plan of the Music of The Sacrilege of Alan Kent
The nine scenes in this monodrama are related in tonal structure, melodic style of the baritone solo part, orchestration, and text setting.
The over-all scheme of these relationships resembles an arch-form. From the standpoint of tonal structure, the two outermost scenes are directly related. Scene Nine: Epilogue makes use of the same materials used in
Scene One: Prologue in reverse order. Both combine serial and tonal melodic and harmonic materials. Both feature the same instrumentation and scoring procedures and are closely related in mood. Scenes Two:
Blue Water, Old Cathedrals and Eight: Love Song exhibit a similar re- lationship; both are tonal, use similar instrumentation and scoring procedures and are closely related in mood. Scenes Three: The Old Negro and Seven: A Workman are also closely related in that both use the same tone-row and harmonic idiom, and both use low strings. However, they are inversely related as to instrumentation; whereas Scene Three utilizes woodwinds and percussion with low strings, Scene Seven employs a brass
choir and percussion with low strings. Scene Four: The Fire and Scene
Six: Sunday Scene are contrasting; Scene Four uses serial technique with
tape and full orchestra accompanying the soloist. Scene Six is based on
a tonal melodic and harmonic idiom as well as instrumentation similar to
Scenes Two and Eight. Scene Five: I Had No Playmates stands alone in the
center of the over-all plan as a brief, totally serialized movement for
strings and baritone soloist. A diagram of this over-all plan is shown
in Figure 2.
5(Clit 14A~p 7?//A C_
Fig. 2--Diagram of over-all structural plan of The Sacrilege of Alan Kent 11
Special Characteristics of the Music
The apparent dichotomy between tonality and atonality within scenes in The Sacrilege of Alan Kent is the result of an attempt to fit the musical style to the mood and action of the text, as opposed to a realiza- tion of the dramatic element in the work through one type of musical style.
In other words, harmonic and melodic idioms change from scene to scene according to the dramatic implications for each. This eclectic approach to musical style permits a greater range of expression than that afforded
in a systematic musical style for the entire work.
For example, the tranquility of Scene Two: Blue Water, Old Cathedrals
and Eight: Love Song differs radically from the excitement in Scene Four:
The Fire. The orchestral part for Scenes Two, Six and Eight makes use of
a tonal harmonic and melodic idiom in sharp contrast to the serial tech-
nique of Scene Four. On the other hand, the melodic style of the solo
vocal line in all nine scenes is fairly consistent in its frequent usage
of large intervals and a wide range.
It follows that a spontaneous application of the two styles, atonality
and tonality, also emerges within The Sacrilege of Alan Kent. The merging
of these two techniques is an outgrowth of the mixture of idioms in the
work, resulting in both tonal and atonal melody and harmony. Atonality as
a term is a faulty definition of the resources it attempts to describe, at
least in a work of this type. Dika Newlin states that "atonality and
tonality are not mutually exclusive any more than 'consonance' and
'dissonance' are. n26 Further, she adds that "this merging process becomes
particularly clear in works where 'atonal' and 'tonal' techniques have
been combined to exist side by side."1 27
Notable examples of sounds or noises produced by unconventional
musical means appear in Scenes Four, Five, and Seven of The Sacrilege of
Alan Kent. A passage from Scene Four: The Fire in which the orchestral
wind players whistle is shown in Figure 3. Here, the whistling effect
blends with the tape sounds and the descending glissandi in the strings.
6 2 Dika Newlin, Bruckner, Mahler, Schoenberg (New York, 1947), p. 260.
27Ibid., p. 261. 12
'w)
Fig. 3--Whistling by wind players, Scene Four: The Fire, mm. 4D: 7
The symbols adopted for the whistling imply loudness at the point of attack followed by a descending glissando which fades away as it drops in pitch.
A similar effect is notated in the score for Gita, a work for chorus, brass, and tape by R. Murray Schafer, contemporary Canadian composer.28
Another example of unconventional sound effects occurs in the last measure of the shortest scene in the drama, Scene Five: I Had No Playmates.
The notation in the score for the violins and violas, as illustrated in
Figure 4, features an x-shaped note-head, indicating "a loud thump on the body of the instrument." The resulting effect is a percussive staccato mte.
#^
vL~01
Fig. 4-.Loud thump on instrument body, string parts, Scene 5: I Had No Playmates, m. 5E: 5.
28 R.Murray Schafer, Gita (Canadian Music Centre, 1967), pp. 8, 17. 13
An unconventional musical effect is achieved by having the brass players talk through their instruments in Scene Seven: A Workman. The result should be that of agitated conversation. The players are in-
structed to repeat at random a phrase sung from the text which opens the
scene. Figure 5 illustrates this passage.
4 f r J1AN '4 L woVI A$J i oA I S gi4 4 "(WwVkrI YGfiC AbI
Y A ftwr &A - A A w- m A vA..
Fi.M-Brs paers alking trugh ainstAcramntw cee evn
A~~~~ Wokmnomw1:1 Amog the secil eatre inth screof heSacilge f la Kent~~~~~~~~~~~7 ar4h1rprvstr r laoi assgsi cneMor h n ee: Arman.1An exrrleofsuhaJFr psae rmSen or in wihtesrneistmentS arereure.o nen otsinkepn
with the musical context of a preceding passage, is shown in Figure 6
below. In this passage, multiple divided strings continue the rapid,
1 descending glissandi notated in measures 4C to 4D. The resulting effect
in the strings combines with that of whistling by the wind players and
the sounds on the tape, as is also evident in Figure 3. 14
-A I U...U.. I ls" ...
- / /M/
k /Prow
mm.r/ 4D: , 2
Anohetpeofimroistoy asage fr utd rupes-ndhons
ocusi ceeSvn soni igr .Stso i ithsAo
IL Ij
Nis
x 9-__- ____o______-rAZMO -9
i- -
--
Fig. 7-Improvisatory passage, muted trumpets and horns, Scene Seven: A Workman, rm. 7D: 1-4. 15
tone-row are notated at the outset of the passage for each instrument; thereafter the players vary the six tones at will. Subsequent variants of six-tone sets occur every other measure in an ascending pattern, moving toward a climax at measure 7D: 9.
The score for Scene Four: The Fire includes a magnetic tape prepared by the composer in the Electronic Music Laboratory, North Texas State
University. Eight events occur on the tape as accompaniment to the baritone soloist along with the orchestra. Sounds generated on a Moog II synthe- sizer were relayed to tape with various mutations, including reverberation, speed variation and sound on sound technique. In one way, the tape serves as merely another instrument, complementing the orchestral accompaniment.
In another way, the tape functions separately, creating sound effects to establish a particular mood, as in the siren sounds at the opening of the scene. Further discussion of the use of the tape appears under "Orches- tration," pages 24 and 25, and in the analysis of Scene Four: The Fire, pages 33 to 42.
Disjunct melodic lines are evident throughout The Sacrilege of Alan
Kent in the solo baritone part. Even the vocal melodic lines which out- line triads in those scenes which employ a tonal accompaniment are somewhat angular or jagged in shape, featuring wide intervals, including fourths, fifths, sixths, sevenths, octaves, ninths, and larger intervals. Figure 8 illustrates the skip of an eleventh in the vocal line in Scene Eight: Love
Song with a tonal harmonic basis. f A YwS ttro - 07. 1~J~~L)J1O ~ Wr- I
Fig. 8--Skip of an eleventh, solo baritone, Scene Eight: Love Song, mm. 8B: 1-3.
Other special features of the melodic writing in the baritone solo
part include melismatic passages, vocal trills, Sprechstimme, and rhythmic
speech. An example of a long melisma combined with an expansive melodic
range used to convey the element of tension in the text is seen in Scene
Six: Sunday Scene, in Figure 9. A tone-row is freely adapted to give
a meandering quality to the line in this otherwise harmonically and
melodically tonal scene. 16
Fig. 9 --Melisma, Scene Six: Sunday Scene, m. 6G; 3
The solo baritone part furnishes two examples of vocal trills used for dramatic emphasis. Figure 10 illustrates a trill from Scene Six;
NE- YER SHOOK IA.D(s) -- - - JWfl4 ME
Fig. 10--Vocal trill, solo baritone, Scene Six; Sunday Scene, mm. 6F: 2, 3.
Sunday Scene, which has a tonal basis. Here a trill to the note a whole step above is evident.
Another shorter trill from a serially organized scene, Scene Four:
The Fire, is shown in Figure 11. The interval of a minor second similar
Fig. ll--Short vocal trill, solo baritone, Scene Four: The Fire, m. 4F: 1. to that in the trill in Figure 10 is evident in this trill passage. The
sustained quality of these two trills is distinctive from the short,
ornamental trills commonly used in much vocal music. The trills employed
in The Sacrilege of Alan Kent are always associated with a definite
crescendo in the voice part, thereby augmenting the inflection of that
particular vowel in a specific word from the text. 17
Isolated examples of Sprechstimme as used in the works of Schoenberg, as well as rhythmic reading, or spoken text with notated rhythm, appear in
The Sacrilege of Alan Kent. Most such occurrences are brief; some involve only a single note combined with regular pitches within a vocal phrase.
Figure 12 illustrates Sprechstimme as applied in the single line of text
~No ?MAY- M'AE I H
Fig. 12--Sprechstimne, solo baritone, Scene Five: I Had No Playmates, mm. 50: 1, 2. for Scene Five: I Had No Playmates.
A precise distinction is made in this work between Sprechstimme in passages featuring half-sung, half-spoken pitches and a type of stylized speech with only the rhythm notated. Accordingly, different symbols are used for these two types of text settings and are explained under the topic of notation later in this discussion. Figure 13 below shows an
Fig. 13--Spoken text with notated rhythm, Scene Three: The Old Negro, m. 3B: 5. example of spoken text or rhythmic reading, with only the rhythm notated above the text. Stravinsky used a similar device in his L'Histoire du
Soldat;29 here, the notation for the narrator "suggests the speaking quality and normal speech inflections customary in performances. "30
Elements of jazz are apparent in some passages in The Sacrilege of
Alan Kent. Occurrences of such writing are not extensive, usually involving
2 9 Igor Stravinsky, L'Histoire du Soldat (J. W. Chester, Ltd., 1918), p. 1.
30 Leon Dallin, Techniques of Twentieth Cent Composition (Dubuque, 1964), p. 200. 18
only a few measures. The locale and background of the narration par-
ticularly in Scene One: Prologue and Scene Nine: Epilogue denote
feelings of melancholy associated with slow jazz music. Fragments of
a six-tone synthetic scale resembling a "blues" scale form the melody
in the opening phrases of the work sung by the soloist, in Scene One:
Prologue, measures 1B: 1-1C: 4. The tones of the complete scale out-
lined in the melody and the melody itself appear in Figure 14. A
" tLL, S "'SCUtE so TA' :Ar (..) -
Fig. 14--Melody on a "blues" scale, Scene One: Prologue, mm. 1B 5-8.
complete "blues" scale is derived from extension of the given tones
C-D-Eb-D-G-A-Bb-D in the melody upward within an octave. A similar
portion from Scene One is recapitulated in Scene Nine: Epilogue,
measures 9E: 1-5. This cyclic treatment of materials in these two
scenes is amplified later in this discussion under "Analysis of
Structural Design by Scenes."
Another application of the "blues" type of melody appears in the
short introduction to Scene Eight: Love Song, as shown in Figure 15.
r" __ __
E5 1bC- 1' SI~uht L S Bengt A 1POFAIJ L N
Fig. 15--"Blues" melody from the introduction to Scene Eight: Love Song, mm. 1-5.
Here, a spirited tonal melody forms a prelude to the sustained, reflective
love song which follows.
Another example involving the pitches Bb-Db-D-F-G-Ab, a fragment of
a "blues" scale based on Bb, appears in Figure 19, page 22. 19
Some of the symbols used in the score of The Sacrilege of Alan Kent
require explanation. Many of the unusual signs encountered in Scene Four:
The Fire and Scene Seven: A Worlknan are used by other composers; a few
have been contrived in this work to solve particular problems in the score.
Most of these symbols relate to pitch notation in which only approximate
pitches are to be produced either by conventional or unconventional methods
of playing an instrument. Accordingly, some of the symbols relate directly
to unconventional sounds. Others indicate non-pitched sounds which are to
be produced either by conventional or unconventional performance methods.
A few signs indicate merely the mechanics of producing certain sounds without the benefit of pitch notation.
Table I in the Appendix shows a partial list of symbols used in The
Sacrilege of Alan Kent. Sources for certain symbols borrowed from other
composers are documented in footnotes below the table. Other signs are
in common usage or have been contrived by the composer for this work.
The solo baritone part also contains approximate pitch notation in
the form of Sprechstimme. 3 1 An x-shape is placed on the regular note stems
on the staff to indicate motion between individual pitches without sus-
taining them. Notation for Sprechstimme is apparent in Figure 12 of this
discussion. Spoken text with notated rhythm in which only stems and flags
appear above the words of the text is also shown earlier in Figure 13.
Orchestration
Predominantly thick texture characterizes the scoring of The Sacrilege
of Alan Kent. Accordingly, full orchestral accompaniment is used in five
of the nine scenes. The remaining four scenes treat the choirs of the
orchestra as follows: Scene Three: The Old Negro features woodwind choir,
percussion and low strings; Scene Five: I Had No Playmates utilizes only
the string section with the soloist; Scene Seven: A Workman exploits brass
choir, percussion and low strings; and Scene Eight: Love Song employs horns,
woodwinds, and harp with strings. The scoring in all nine scenes exhibits
choir writing with a minimum of solo passages for the instrument.
3 1Arnold Schoenberg, Pierrot Lunaire, Op. 21 (Wien; Leipzig, 1914), p. 5f. 20
Pointillistic passages in which a series of fragmentary designs are sounded in clear timbres within different registers occur in some scenes from The Sacrilege of Alan Kent. Figure 16 illustrates pointillism in
Scene One. An assortment of percussion instruments is combined with the
' 04 100
17
Aice^ TOY . .
-1 IL M, a N 7
OIL
Alk
v r'.
D,6
Fig. 16--Pointillism in low strings, woodwinds and percussion, Scene One: Prologue, mm. lA: 4, 5.
double basses iterating an ostinato figure; the cellos play a single
pizzicato chord while solo flute is flutter-tonguing a pitch which ends
in a descending glissando.
A type of scoring which is antithetical to pointillism involves
clusters or masses of sound resulting from overlapped instrumental lines
sounding at close intervals. Figure 17 illustrates this procedure as
applied in the strings in Scene One: Prologue. Multiple division of the
strings forms a very dense sound at the opening of the work. The inter-
val of a minor second is predominantly used. Such devices involve a
large orchestra and, consequently, negate the use of a chamber orches-
tra as accompaniment to the soloist in this monodrama. 21
"WP, Mir I 4 04 ALl~L~ 4
oi l di h. 400 rT- 4L t -1-re- u -- FWP- I --qgp- 7-
IL -1 AIN
bm dip
WF 4L a 39
qw AP
Fig. 17--Sound mass, multiple divided strings, Scene One: Prologue, mm. 1, 2.
Unlike much other serial music emanating from Anton Webern and his style, passages based on serial technique in The Sacrilege of Alan Kent tend toward thick orchestral scoring. Figure 18 shows thick scoring in
AA E0%4'ir0 Ih
-A All
- . t . ooh ! r--; la Ali A& L
00
A.L 01
Fig. 18--Thick scoring in a serialized passage, strings, Scene Seven: A Workman, mm. 7B: 5-7C. the strings in an interlude from Scene Seven: A Workman. Complex rhythm featuring a variety of note values produces the dense texture evident in this passage.
Thick scoring in a tonal passage is exhibited in the following extract from Scene Six: Sunday Scene in Figure 19. A mixture of harp, triangle, glockenspiel, and vibraphone is combined with the upper wood- winds and lends an exotic effect to the orchestration in this scene. 22
.Q.
ILL nrlk-
1, 11 1 ji
too,
tOCK1r! I f
If -A 4- t -I-
171 1 A I Fil; Ew ;
WNW-
VtIA E
vamp" Aw Am I -IL T- "6 IL 1 0 IlL -it Id
oen
AIL
3+ Ala 3
27 - 114 1 13=25 off loci S7 L" ow pip
if
Fig. 19--Thick scoring in a tonal passage, Scene Six: Sunday Scene, mm. 6, 7.
The tonal sonorities result from elaboration of a "blues" scale, shown also in Figure 19.
Thick scoring resulting from doubling in unison of the low strings with low woodwinds and brasses produces a dark sound, as shown in
Figure 20. This type of doubling produces great power and resonance in the orchestra. 23
-Moog
Will
rr
A-M
Vol SIPW
gvf=r
mow
&I 6#6ZI d dft W, or 4w
Fig. 20--Low strings, woodwinds and brasses, doubled in unison, Scene Two: Blue Water, Old Cathedrals, m. 2A: 4.
A mixture of orchestral textures occurs in Scene Six: Sunday Scene.
Figure 21 illustrates the motor activity generated in the rhythmic patterns
1
IL AM mu
,
HA
AL I TV I
el6
Fig. 21--Motor activity in harp, clarinets and bass clarinet, Scene Six: Sunday Scene, mm. 3D: 3, 4. 24
presented by the harp, clarinets, and bass clarinet. Simultaneously, the bassoons and double basses play a staccato bass while the remaining strings and oboes present an antiphonal dialogue, as shown in Figure 22.
JIC1
~il|M
Fig. 22--Staccato bass in bassoons and double bass with antiphonal dialogue in strings and oboes, Scene Six: Sunday Scene, mm. 3D: 3, 4.
Eventually, the entire orchestra arrives at a tutti passage in measure
6D: 9 in a full blend of varying timbres.
The magnetic tape, used as added accompaniment in Scene Four: The
Fire, figures prominently in the orchestration as a kinesthetic aid to the visual effects in the scene. As an additional sound source, its taped events frequently blend with the sounds heard in the orchestra.
-Now
P -now .gap .MOO
L
I T - - - - -
Fig. 23--Tape sounds resembling effects in strings and winds, Scene Four: The Fire, mm. 4D: 1, 2.
The passage given in Figure 23 shows the tape sound occurring at measure
4D: 1, 2. These sounds combine with the rapid, descending, plucked 25
glissandi in the strings, described earlier in Figure 6, and the whistling by the wind players, described earlier in Figure 3, to produce a single, homogenous sound.
Text-painting, in which words or ideas in the text are reflected in the accompaniment, is effectively utilized in both the tape and orchestra in Scene Four: The Fire. A graphic example of text-painting using taped sounds commences at measure 4F, as shown in Figure 24. The words from
=HIV - &-kNrAND cmev~
Fig. 24--Text-painting, the tape, Scene Four: The Fire, m. 4Fff text, "shivering, crying,"are echoed by a sepulchral voice on the tape recording. Shimmering, haunting, distorted pitches from the synthesizer mingle with the intoned words at varying pitch levels. Technical aspects of producing these sounds are discussed later in the analysis of Scene Four: The Fire, p. 42.
Text-painting as it appears elsewhere in the orchestral part of
The Sacrilege of Alan Kent is exemplified in the passage in Figure
25. The words "hurrying, cold water" are pictorialized by running staccato figures in the woodwinds, rising upward, then cascading downward.
Instrumentation for this monodrama varies with each scene as indicated earlier in Figure 2. Complete instrumentation for this work is given on the following page. Divisi indications given for the string section are optimum requirements for the performance of
Scenes Four and Seven. 26
f&; : = av" Affi 815~
juffy - - i i -t-
Mr-
two --- +
A ff lirr WWI
" s
MEE
Fri
l6ft
4am IL pie r _ I C 1,2 Fig. 25--Text-painting, woodwinds, Scene One: Prologue, mm. IC:
Instrumentation for The Sacrilege of Alan Kent
Woodwinds: Percussion and Keyboard:
3 Flutes (3rd doubles on 4 Timpani piccolo) Snare Drum (substitute 2 Oboes 3 Two-headed tom-toms English Horn 3 tuned drums) 2 B-flat Clarinets (1st doubles Bass Drum on Alto Saxophone) Tambourine B-flat Bass Clarinet 2 Bassoons Triangle Contrabassoon Hand Cymbals Suspended Cymbal Brasses: Jazz Thin Cymbal Jazz Sizzle Cymbal 4 French Horns Jazz Hi-Hat Cymbals 3 B-flat Trumpets (C Trumpets Small Gong optional in designated Large Gong (Tam-Tam) passages) 2 Wood Blocks (High-Low) 3 Trombones (3rd: Bass Trombone) Tuba 5 Temple Blocks Sand Blocks Strings: Ratchet Thunder Sheet I Violins divisi a 4 II Violins divisi a~ 4 Glockenspiel Violas divisi Xylophone I Cellos divisi a 4 Vibraphone II Cellos divisi a~4 Marimba Double Basses divisi a 3 Celesta Piano Harp 27
Analysis of Structural Design by Scenes
Although the musical form and content of each scene in The Sacrilege of Alan Kent is determined by the text and by its dramatic implications and its adaptation to the baritone solo melodic line, the work retains a balance between contrasting harmonic and melodic idioms, internal design, and instrumentation.
For the purpose of a concise discussion of individual scenes, criteria established by Jan LaRue in his Guidelines for Style Analysis32 have been adapted to the following commentary. The elements of sound, harmony, melody, rhythm, and growth are treated generally in the discussion of each scene. An additional consideration, the influence of the text, is mentioned whenever applicable.33
Scene One: Prologue
The close relationship between Scene One: Prologue and Scene Nine:
Epilogue, adumbrated in the earlier discussion under "Structural Plan," is illustrated in Figure 26 below. A concentric arrangement in which six sections in Scene One are iterated in reverse order in Scene Nine is as follows: An introductory passage in Scene One: Prologue (Section 1,
Scene One, in Figure 26) featuring multiple divided strings and woodwinds recurs as the final segment of Scene Nine: Epilogue (Section 6, Scene Nine, in Figure 26). Lightly scored statements in the woodwinds and percussion with a two-note ostinato, forming a bridge for the entrance of the soloist in measures 1A: 2-6 of Scene One (Section 2, Scene One, Figure 26), are recapitulated inversely in Scene Nine, also (Section 5, Scene Nine, Figure
26). Rapid figuration in the woodwinds, ascending then descending, shown earlier in Figure 25 in the previous discussion (Section 3, Scene One,
Figure 26), also recurs in Scene Nine (Section 4, Scene Nine, Figure 26).
In the same way, the "blues" melody in the alto saxophone in measures
1D: 1-7 in Scene One (Section 4, Scene One, Figure 26), is restated in the final scene (Section 3, Scene Nine, Figure 26). A brass pyramid of entries formed by a close stretto in measures 1G: 3, 4 of Scene One (Section
5, Scene One, Figure 26) is presented in retrograde in Scene Nine (Section 2,
Scene Nine, Figure 26). Finally, the material which closes Scene One is
3 2 Jan LaRue, Guidelines for Style Analysis (New York, 1970), pp. 7-10.
3 3 Ibid., pp. 148-152. 28
of the final scene (Section restated in exact retrograde as the introduction
6, Scene One and Section 2, Scene Nine in Figure 26).
Scene I: 5. 6. Section: 1. 2. 3. 4.
Close: Sound Intro- Pointill- Rapid "Blues" Brass mass, fading duction: ism: wood- figures, melody pyramid with gliss- Sound winds, wood- mm. mm. percussion winds 1D: 1- 1G: andi, strings mass, and brasses strings, with mm. lE: 5 2-4 wood- ostinato 1C: 1-6 mm. winds mm. 1G: 2-7 mm. 1A: 1-6 1-6 Scene IX: 2. 1. Section: 6. 5. 4. 3.
in reverse Fig. 26--Six Sections in Scene One: Prologue recapitulated order in Scene Nine: Epilogue.
in this scene. The Both serial and non-serial techniques are employed of which appears in Figure 27, passage from measures in Scene One, an excerpt jazz idiom. A reduction of is based essentially on tonal harmony within a excerpt appears at the the tonal structure of the one chord for the above C-E-G-Bb, derived from bottom of Figure 27. To a major-minor seventh chord, in this discussion, sustained the "blues" scale, shown in Figure 16 earlier the pitches A-Gb in the in the low strings, harp and woodwinds, are added
ZIP-
One: Prologue, mm. Fig. 27--Tonal harmony within a jazz idiom, Scene 1D: 5-7. 29
oboes and flutes, producing a thirteenth chord with an augmented eleventh,
spelled C-E-G-Bb-(D) -F#-A. (Only the pitch D is missing in the passage. )
This unresolved thirteenth chord, frequently associated with jazz music,
gives the effect of a half-cadence, confirmed by the fermata over the last
chord in the passage.
Serial technique is employed at this juncture in the scene. A set of
solo entries beginning in measure lE: 1 appearsin the oboe and horn parts,
di A OILN
- - ~ I In
OEM _ILW - IF- -
3-.a- T'
- - vi 10- _ 2 Ff I ft.
'MA I--
Fig. 28--Contrapuntal entries in oboe and horn, Scene One: Prologue, m. lE: 1.
the trombone, the soloist, with the words "the worm-eaten slats," and,
finally, the strings. Figure 28 illustrates these entries.
Rhythmic transformation of the first few notes of each statement
provides constant thematic variation in the passage. An asymmetrical
tone-row, shown in Figure 29, is the unifying factor in melody and
Fig. 29--Tone-row used in Scene One: Prologue, mm. 1E-lH: 8
harmony for the remainder of Scene One, and was derived intuitively
from tonal pitch materials in the preceding passage. A very free use
of the row is evident in the displacement of pitches from their original
order. 30
Clearly, the passage illustrated in Figure 28 marks a shift between two types of compositional techniques in Scene One. Tonal harmony changes to chromatic, serially organized harmony and melody; tonal sonorities in homophonic texture in the accompaniment give way to a contrapuntal fabric.
Several types of timbres are outstanding in the orchestral accompani- ment: the multiple divided strings in sound masses or clusters, as shown in Figure 17; the pointillistic passage for percussion and woodwinds in measures 9-19; and the brilliant timbres in the rapid woodwind passage, observed earlier in Figure 25.
Homophonic texture is evident in the sound clusters in the high strings and woodwinds at the opening and close of the scene. Although this texture results from a contrapuntal device--overlapping lines occurring in close stretto formation--the aural effect is one of a homophonic mass of sound.
Scene Two: Blue Water, Old Cathedrals
Scene Two is a brief, through-composed song for the soloist and orchestra in which the soloist recalls a peaceful impression from childhood.
Low, thickly scored chords for the orchestra enhance the reflective mood of the text. A reduced analysis of the opening six measures from
Scene Two, given in Figure 30 below, reveals a progression of seventh
L4 HO - TEL. oN K UORi . OF A dLO F_ %AV- OL3&V W A
IVA"'
Fig. 30--Progression of seventh chords, Scene Two: Blue Water, Old Cathedrals, mm. 1-6.
chords. A free flowing effect results from the meandering quality of these
sonorities, indicated in the analysis as a series of changing tonal centers.
This type of constantly shifting harmony constructed from tertial sonorities
characterizes the entire scene.
Polychordal harmony results from superimposing conflicting thirds or
other intervals over triads, as shown in Figure 31. Here the clarinets
state a series of descending thirds which form dissonant, complex sonorities 31
Fig. 31--Polychords resulting from superimposition of thirds, Scene Two: Blue Water, Old Cathedrals, mm. 2A:1-3. over the simple, sustained triads in the low reeds, brasses and strings.
The concert pitches E#-G# are superimposed over the triad E-G-B in measure
2A: 1. In the succeeding measure, the third C#-E forms another dissonance over the sustained E-G-B triad; on the fourth quarter of the same measure,
G# clashes with the same triad. In the final measure of the three measures,
2A: 3, the passage resolves to the major triad, E-G#-B.
Coloristic orchestration similar to that of Scene Six: Sunday Scene is typified by arpeggiation in the celesta and harp. Rich, vibrant timbres are evident throughout the orchestral accompaniment. The final chord shown in reduced form in Figure 32 is noteworthy for its colorful effects. A
_ lk7'
7r
Fig. 32--Coloristic orchestration, final chord, Scene Two: Blue Water, Old Cathedrals, m. 2C: 8. 32
sustained polychord for woodwinds, strings, and muted horn is punctuated by a glissando for the glockenspiel, an arpeggio for the celesta, and harp harmonics.
Scene Three: The Old Negro
A type of dynamism characterizes the musical setting for Scene Three.
Short, punctuating melodic statements, tremolos, pointillistic percussion events, and eerie effects such as high harmonics on double basses typify the neo-barbaric quality of the orchestral accompaniment.
Whereas the harmonic idiom in Scene One: Prologue was both non-serial and serial and was essentially tonal in Scene Two: Blue Water, Old Cathe- drals, the harmonic and melodic elements in Scene Three are entirely serialized, using a tone-row shown in Figure 33. The first nine tones of the row are organized into three-note groups in a whole-step, half-step relationship. The fourth three-note group is dissimilar, consisting of a half-step and a perfect fifth.
JiJt
Fig. 33--Twelve-tone row, Scene Three: The Old Negro
In general, the serial technique in this scene and throughout the serial portions of The Sacrilege of Alan Kent involves the use of all twelve tones in keeping with strict dodecaphonic practice.
Instrumentation for this scene, which parallels that used for Scene
Seven: A Workman, consists of a woodwind choir, a percussion group, and a string section without the violins. The remaining low strings are generally divided throughout the scene. An unusual timbre results from harmonics in the cellos and divided double basses, as shown in Figure 34.
Harp harmonics and light percussion events add to the amorphous quality of the passage. 33
e o
Fig. 34--Harmonics in cellos and divided double basses, Scene Three: The Old Negro, mm. 31: 6-8.
As in the two preceding scenes, organic unity is sensed within each scene in the accompanimental rhythmic schema. Like the preceding scene, also, the tempo and rhythmic schema change dramatically to fit the mood of the text. From measure 31 on to the end, as the soloist sings, "After- wards, I stole from my mother," the ideas of intense emotional upheaval, tenderness for the oppressed Negroes, and inner conflict between providing them with food and violating the mores of a southern white culture are implied. In this passage, the soloist and orchestra conclude Scene Three with a type of codetta.
Scene Four: The Fire
Structural elements in Scene Four, including form, texture, harmony, melody, rhythm, contrapuntal devices, orchestration,and magnetic tape sounds, evolve from a predetermined program of dramatic action based on the text.
Taped and orchestral events are designed to illuminate the dramatic content and emotional climaxes implied in the text.
Textually, Scene Four presents a terrifying description of a young boy's traumatic experience as a witness to a fire which sweeps the family home, trapping his pet dog in the flames.
Serial techniques applied in Scene Four function to shape the harmony, melody, and counterpoint in the orchestral accompaniment as well as provide a melodic basis for the vocal solo part. The basic tone-row used is shown in Figure 35 below. A mixture of intervals including major and minor seconds, minor thirds, a minor sixth, a tri-tone, and a perfect fifth comprise this asymmetrical row. 34
fi z 15, 4- s 4 6L. QY9 ' icn i
Fig. 35--Basic tone-row, Scene Four: The Fire
The original row, its inversion and retrograde inversion are systematically developed in the accompaniment. Within the first twenty-seven measures for the strings, all forty-eight statements of the basic row with its derivatives, I, Rand RI and all trans- positions thereof, are presented in a set-complex arrangement as
follows: In measures 4A: 1-4B: 6, the original row and its inversion
with eleven transpositions for each occur in the divided string
section, reinforced in measures 4B: 4-6 by the woodwinds. In a
second section, beginning at the return of the 2/4 meter in measure
4C: 1, the retrograde and retrograde inversion forms of the original
row are exposed in the strings, culminating in a climactic tutti
passage in the orchestra and tape at measure 4D: 1.
Systematic ordering of the basic set-forms of the row and
transpositions at every interval is achieved through the use of a
grid or matrix, shown in Figure 36 below. All of the set-forms
(0, I, R,and RI) and their inversions appear on the chart. Pro-
gression through the row variants is observable in the counter-
clockwise arrangement of the elements on the chart, which reads
down from left to right, then down and across from left to right,
up from left to right, and finally from right to left.
34George Perle, Serial Composition and Atonality (Berkeley, 1963), p. 3. 35
01 02 03 04 05 06 07 08 09 010 0 012
I B C Bb A E Ab G Db D F Gb Eb RI1 2
12 B B A Ab Eb G Gb C Db E F D RIl1
13 C Db B Fb F A Ab Db Cb Gb G E RI1 0
I4 Db D C B Gb Bb A Eb E G Ab F RI
I5 Gb G F E B Eb D Ab A C Db Bb RI8
16 D Eb Db C G B Bb E F Ab A Gb RI7
I7 Eb E D Db Ab C B F Gb A Bb G RI6
18 A Bb Ab G D Gb F B C Eb E Db RI5
I Ab A G Gb Db F E Bb B D Eb C RI4
I10 F Gb E Eb Bb D Db G Ab B C A RI3
I1 1 E F Eb D A Db C Gb G Bb B Ab RI2
I12 G Ab Gb F C E Eb A Bb Db D B RI1
R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 R12
Fig. 36--Matrix showing basic row set-forms and all intervals. Scene Four: The Fire.
Precompositional linear ordering35 of the entries exists in the
close stretto formed by the overlapping melodic lines in the strings
in the above passages. The pitches in the inverted form of the original
row determine the order and pitch level of the individual row melodies.
The initial tone of each melodic line (set-form)36 is derived from the
notes of the inversion of the original row, as diagrammed in Figure 37.
35Ibid.
36Ibid. 36
. i
Vt"i EM'S. 4A :710: #LAS CA'1AJ. 4 ' 3 f " 4
IC.**% L . . , - -#- .. AOOI*& i L . (.L)
"ts, 3 4' . 4A :4}S : dGt Co"
n OEM
LAI
' V .J: a +" 4A :3.R5):
Orr
46 : s ViAs s c.+ +A:4- *A 2 -
4A:.213): VUK"?.tC +n."41 :8-4-3:1
IL T Ai -- I YN
VWS CM.'. +A:?-Q) . vG.jt' ,.,,... +A 3jA
19 IRE
Ulm
Fig . 37--Verticalization of linear relationships in the original row, Strings, Scene Four: The Fire, mm. 4A: 1-4B: 4.
Although this restrictive type of verticalization of the linear relationships in the inverted form of the original row is adopted, the use of all twelve tones simultaneously, as opposed to a more selective procedure involving row segments, produces a nearly total tonal ambiguity
consistent with the function of the orchestra in the dramatic action at this point. There is no attempt here to arrive at a fixed sonority, cadence point, or other harmonic goal. Instead, the amassing of over-
lapping melodic lines is directed toward a dramatic highpoint, indicated
in the text by means of orchestral texture. Ordering of the entries based upon the arrangement of tones in the inversion of the original
row results in a mirroring of the elements in the original set. This mirror principle and the polyphonic fabric form the criterion for
adopting the above mentioned verticalizat ion procedure.
The scheme outlined above is basically simple, but the melodic
contour of each set-form presented in the string melodic lines becomes
more complex as the passage progresses. At the outset of this portion
of the score, in measures 4A: 1-5, each melody exhibits relatively low
3 7 Ibid., pp. 85-90. 37
contour features similar to that illustrated in Figure 38. Small inter- vals predominate, closely resembling the shape of the basic set from
Fig. 38--Typical low contour melodic line, Strings, Scene Four: The Fire, mm. 4A: 4, 5.
which they are transposed. As the overlapping melodic lines move toward
the climax in measure 4B: 6, the shape of each line becomes increasingly
jagged; the intervals expand, increasing the feeling of tension, as
illustrated in Figure 39 below. Intervallic expansion in these melodic
lines is achieved by means of octave displacement of the pitches, as
shown in a comparison of the intervals in Figure 38 with those in
Figure 39.
Fig. 39--Typical melodic line with expanded intervals, strings, Scene Four. The Fire, mm. 4B: 4, 5.
As a corollary of the above, the method of directing this passage
toward a dramatic climax is further enhanced by transposing the set-forms
to an ever higher relationship with successive entries. This is effected
by stating the initial tones of successive entries in their higher octave
relationship as the strings progress through the passage. Thus, the of the initial tone of an entry based on 0lO (the tenth transposition in original row) is found an octave higher than its original position ver- the inversion set (02, for example), used as a basis for linear the ever ticalization throughout the passage, thereby emphasizing 4B: 6. rising movement of the strings toward the climax in measure 38
When the second section of entries appears in measure 4C: 1 with its treatment of the retrograde and retrograde inversion set-forms, the spatial relationship in the strings is reversed; the high tessitura for the strings found in the close of the first section in measures 4B: 1-6 is retained at the opening of the second section of entries. The imita- tive contrapuntal technique remains unchanged, except that successive entries in the strings now enter below each other, cascading downward in contrast to the tiered arrangement in the first section of entries.
The arhythmic character of the constant sixteenth-notes melodic lines scored for strings in the above sections is consistent with the desired ambiguous effect. Clearly, rhythm is subservient to texture. The energy of the forward movement in these string passages directed toward a dramatic goal rests on musical elements other than varying note values; imitation, dynamics, melodic interval expansion, and octave transposition of ascending entries achieve this motion without the benefit of rhythmic variety.
The foregoing examples illustrate the application of the twelve-tone method to the formulation of texture, harmony, counterpoint, and scoring within a passage for the soloist, orchestra, and tape. Paradoxically, the
serial technique outlined in the above discussion lies closer to the principles of architectonic musical forms, such as the fugue, evolving
"out of the shaping characteristics inherent in motive, theme, rhythm, 8 harmony, and counterpoint without any necessary verbal explanation."
The fact that the row technique utilized in Scene Four is allied with a
type of associative, dramatic musical form, instead of architectonic music,
is not without precedent. Henri Pousseur, in commenting on Webern' s serial
technique, points out that "the serial system is nothing but a theoretical
tool, that can be adjusted to a multiplicity of factors, and to forms that
are often unexpected, at the same time taking into account the problem
of surprise. 139
38Leon Stein, Structure and Style (Evanston, 1962), p. 171.
39Henri Pousseur, "Outline of a Method," Die Reihe (Musical Craftsmanship), III, (1959), 4 7 . 39
In contrast to the constant sixteenth-note rhythm of the opening portion of Scene Four, just discussed, a climactic passage for the brass section,
illustrated in an extract of the horn parts in Figure 40, exhibits poly- rhythmic texture, achieved by superimposition of triplets over duplets,
Fig. 4O--Polyphythm, horns, Scene Four: The Fire, mm. 14G: 5-4H: 1
syncopation and foreshortening of rhythmic patterns . Dense texture results from simultaneous interplay of layers of rhythms . Bar-lines indicate
general groupings within 7/8 meter; however, the players are to play the
passage freely.
Contrapuntal development in an extended passage for strings in neas-
ures 4J: 1-40: 7 features imitation on three different rhythmic levels,
low_ _
"PAW1 f+'1- 'l A GO SS -FL AWES ATS . HIS SM Ad loft f z _
_ _ l _ _ _ __I______ICOD___
Fig. 41--Imitation on three different rhythmic levels, Scene Four: The Fire, mm. 4L: 1-4. 40
as shown in Figure 41 above. The last notes of the whole-note theme in cellos II are combined with entries of the second transposition of the inversion set-form (I2) in cellos I, imitated by the eleventh transposition of the original row (all) in violas I. An augmented statement of the tenth transposition of the original row (010) appears in half-notes in violins
II. The original row appears in the vocal melodic line.
Double canon results from two pairs of entries in measures 4M: 1-7, shown in Figure 42 as follows: a pair of entries in syncopated rhythm
v
I I
IG
WVOW
14 to- L$ +he
r I f D' US$
Fig. 42--Double canon with accompanying theme, Scene Four: The Fire, mm. 4M: 1-8.
consisting of the tenth transposition of the retrograde form (R 1 0 ) in
cellos I and the retrograde of the original row in violas II; three-and-
one-half measures later, in measure 4M: 5, a pair of entries in violins
II and violas I present the second transposition of the row (02) answered
by the eleventh transposition of the original row (011). Augmentation of
the tenth transposition (010) of the original theme in violas I commences
in measure 4M: 8. A quarter-note statement of the eleventh transposition 41
of the inversion set-form (Ill) in cellos II in measure 4M: 5 forms an accompaniment in the lowest voice to the double canon in the upper parts described above.
Rhythmic diminution in quarter notes, freely stated in pizzicato cellos and double basses, and other similar devices are apparent in this extended contrapuntal passage for strings.
Numerous examples of contemporary orchestral devices associated with so-called avant garde music appear in this scene. Figure 43
ion 77 or-
L&KAU -M
"
i
16
up-
711,1 1 -AA :x IE EddW
Fig. 43--Low sonority for flutes, contra-bassoon, low brasses, and tam-tam, Scene Four: The Fire, mm. 4B: 3-6. illustrates a typical passage with a low sonority for flutes, contra- bassoon, low brasses, and tam-tam. Three flutes play a slow glissando up a half-step and down again with the sustained tones in the other instruments. The resulting effect is a low, dissonant rumble, fading in intensity.
Klangfarbenmelodie appears briefly in measures 4D: 1-7 in a passage combining pointillistic scoring with coloristic timbres, as shown in Figure 44. In this instance, a sustained dissonant chord,
Db-B-Ab-A-C-G, derived from six tones in a transposed retrograde variant of the row, is presented in changing color groups from the woodwinds and brasses. Trumpets with a chamois cloth over the bell, muted horns, trombones, and bassoons in the extreme upper register
supply the sound mixtures for this changing chord. Disparity between 42
rv 1) Tom,
Zoo
f "
NS
Fig. 44--Klangfarbenmelodie, woodwinds and brasses, Scene Four: The Fire, mm. 4D: 3, 4. interchanging timbres in the passage is modified by balanced dynamic levels and muting, commensurate with the register and tone quality of each
instrument.
Unconventionally produced sounds combine with the tape to expand the total sound spectrum of Scene Four. (An example of unconventional sounds
in Scene Four appears in Figure 3.)
Technical aspects of the preparation of tape events for Scene Four are as follows: Equipment used to prepare the tape, in addition to the
synthesizer mentioned in the discussion on p. 15, included Ampex custom
tape recorders with sel-sync and variable speed control capabilities,
a reverberation unit, a ring modulator, and a microphone. Taping
specifics and a correlation of procedures used with resulting sounds
on the final dubbed copy of the tape appear in Table II in the Appendix.
Scene Five: I Had No Playmates
The central scene among the nine in this monodrama is a diminutive,
musical conundrum, a miniature drama with the single utterance "I had
no playmates" for a text. Marked "Scherzando--alla spiccato," this scene
forms a brief interlude for strings and baritone soloist between two
larger, fully scored scenes, Four and Six.
Formally, Scene Five is a palindrome in which the last half of the
work is a nearly exact restatement in retrograde, of the intervals,
rhythms, dynamics, and phrasing that are found in the first part. 43
A new tone-row, shown in Figure 45, unifies this brief movement. The original row and its inversion are used in the first half of the work,
Fig. 45--Tone-row, Scene Five: I Had No Playmates ending with the chord at measure 5C: 1; the retrograde and retrograde
inversion forms result naturally from reversal of the pitch materials
in the first part.
A slight variation of the concentric design in the second half of
the work is evident in the violin glissandi with harmonics in measures
5D: 4, 5, the fusion of melodic lines formed by a stretto in the final
two measures, and the extra-musical "thump" sounded by the strings as
the last note of the work.
Scene Six: Sunday Scene
The element of sound, including timbres, dynamics, and textures in
Scene Six may be described as rich and exotic. Contrasting timbres and
the full range of dynamics are employed in this scene. Instrumentation
resembles that of Scene Two: Blue Water, Old Cathedrals, adding harp,
vibraphone, glockenspiel, and a variety of other coloristic percussion
instruments as accompaniment.
The dark sonorities in the low strings, woodwinds, and horns in the
opening of the scene typify the tonal harmonic idiom employed in the first
portion from the beginning to measure 6B: 3, marking a change in texture,
melody, harmony, and rhythm. After this point, harmonic and rhythmic
activity become increasingly complex. The added harmonic tension in
the melody in the clarinets results from implied superimposed-thirds out-
lined in the melody. This type of device is used constantly as the
harmonic basis for the remainder of the accompaniment in this scene.
Figure 46 illustrates the use of four thirds, the concert pitches D-B 44
and Db-Bb in the clarinets, followed by Ab-Cb and B-D. Likewise, the oboes and flutes in measure 6B: 5 utilize harmonically the two minor thirds
LIB L~~
Fig. 46--Superimposed minor thirds implied, clarinets, Scene Six: Sunday Scene, mm. 6B: 3-5.
G#-B and A#-C#, which form a dissonant relationship with interval G-B, in the violins, and the intervals D-G in the bassoons and violas, resulting in tone clusters on the first two beats of measure 6B: 5, as shown in
Figure 147.
4~%4 I_
Fig. 47--Tone clusters resulting from superimposed thirds, woodwinds and strings, Scene Six: Sunday Scene, m. 6B: 5.
The harmonic and melodic materials at the beginning of Scene Six have been previously observed in the remarks concerning the jazz idiom under
"Special Characteristics" earlier in this discussion. A "blues" scale of the type used as a melodic and harmonic basis for the first part of this scene, as well as Scene One: Prologue, is shown in Figures 14 and 15.
After measure 6B: 3, cohesion of melodic and harmonic styles is achieved through constant derivation of sonorities from superimposed thirds as described above. Subsequently, most of the melodic writing after measure
6B: 3 results from organizing short intervallic and motivic patterns 45
based on thirds. Brackets in Figure 48 below show that even the fragments which form the bass-line in measures 6B: 5-6C: 3 evolve from super-
Fig. 48--Bass-line melody, low strings and woodwinds, Scene Six: Sunday Scene, mm. 6B_ 5-6C: 3. imposed thirds, occurring simultaneously in other instruments as harmony.
Significantly, the melodic basis for the solo baritone part after measure 6D: 9 in this section is not derived solely from the harmonic materials used in the accompaniment. Instead, the vocal part is essen- tially atonal, with wide leaps and dissonance in keeping with the dramatic tension implied in the words, "My father never shook hands with me." At measure 6G: 3-6, the vocal melody is based on a free use of tone-row in a vocal melisma.
Aspects of the rhythm, like melody and harmony, are radically changed
from measure 6B: 5 to the end of the scene. Rhythmic variation in the
orchestral accompaniment is achieved by changing meters, 4/2 to 3/2 to
4/2, and by a type of alternation or shifting of rhythm in which accents
and syncopation are the dominant features. Figure 49 illustrates the
Fig. 49--Rhythmic alternation with syncopation and accents, Scene Six: Sunday Scene, mm. 6C: 1-4.
rhythmic scheme apparent in measures 6C: 1-4.
Interaction of simultaneous rhythms at different levels increases the
motion and drive required from measure 6B: 5 to the end of the scene. Six
different rhythmic patterns are shown in Figure 50, as follows: The essential
melodic activity is a dialogue between (1) piccolo, flutes, first violins, 46
violas, and glockenspiel on one melodic line and (2) oboes, clarinets,
trumpets, trombones, second violins, and xylophone on the other; (3) the
Fig. 50--Six simultaneous rhythmic patterns, Scene Six: Sunday Scene, mm. 6D: 5, 6. horns play glissandi on sustained note-values, while (4) motor activity occurs in running figures for harp and bass clarinet; (5) cymbals and bass drum play short after-beat punctuations; (6) the bassoons, double basses, and tuba maintain a staccato bass. The white note meters employed at the outset of this scene to enhance the broad, flowing sonorities are retained throughout this faster section for the sake of consistency in notation.
Functional aspects of growth of the music in Scene Six depend chiefly on structural rhythm and coloristic orchestration. Orchestration and rhythm function together, corresponding with the change in text, and, accordingly, the change in the mood of the music.
Scene Seven: A Workman
Macabre, gloomy events are recounted with morbid detail in this scene.
The saturnine manner in which an incident of sudden death unfolds from the viewpoint of the narrator is typical of Erskine Caldwell's writing.
A brass choir is used with percussion and low strings in contrast with the woodwind choir and low strings combination in Scene Three.
A tone-row, shown in Figure 33, the same used for Scene Three: The
Old Negro, unifies harmony, melody, and counterpoint for Scene Seven.
Contrapuntal presentation and homophonic verticalization of the row pitches noted in other serialized scenes are evident in this scene also, resulting in thick aggregates of twelve-tone dissonance in the orchestral choirs, especially the brasses. Figure 51 shows a complex sonority at the first appearance of the brass choir in measures 7B: 1-3, using all twelve tones of the original row sounded simultaneously. A sustained timpani roll provides the first tone of the row. The remaining eleven tones are
Li
AVEi g
Fig. 51--Complex sonority in the brasses, using the twelve tones of the row, Scene Seven: A Workman, mm. 7B: 1.3. vertically realized in the brasses, as follows: tuba and trombones play tones 2-5; the horns have tones 6-9; and the trumpets have the last three tones, 10-12.
The pitches from the row are not stacked in exact row sequence, however.
A preponderance of minor seconds, producing increased harmonic tension in this chord, is achieved by reordering some of the pitches into diads within the normal brass ranges. Consequently, pitch 5 appears in trombone II below pitch 4 in trombone I in the upward progression of pitches above the initial timpani tone. Likewise, 9 precedes 8 in the top pair of horns, and 10 is interposed in the trumpet II part between trumpets I and III (pitches 10 and 12), as indicated by brackets in Figure 51 above. This non-mechanistic approach to verticalization of the row intervals typifies the scoring of other such tone-row sonorities appearing throughout the serial portions of this monodrama.
Outside of isolated examples similar to that in Figure 51, harmony in
Scene Seven occurs as the by-product of contrapuntal techniques. Accompani- ment in the strings for the opening measures of the scene, from measures
1-6, shown in Figure 52, features imitation resembling stretto in pairs of
voices. The Original row (dux) in violas I is paired with the Inversion 48
form of the row (comes) in violas II, one-and-one-half beats later; similarly,
the two series, 0 and I, are imitated by the RI and R forms in divided cellos
MAIM *A An -W ww 17 ---- 77 9[whllv ROW
MA11) "_' A WORD
F 11 -j Ad PAA m
Ems IWF POW
u P Z.. 1 -P";*IL-.- '
m Aft
1
4w Air -0
Fig. 52-.-Imitation, string accompaniment, Scene Seven: A Workman, mm. 1-6.
beginning in measure 2 after the space of one measure plus the time
intervals of one-and-one-half beats.
In the second pair of entries, RI precedes R because, through trial
and error, RI proved to be more consistent with the harmonic texture at
this point. The rationale for this placement of RI before R on the basis
of harmony, as well as the general compositional arrangement of all tone-
row materials in this passage, is deducible from the condensed tonal
structure represented in Figure 53. A sampling of the reduced sonorities
Fig. 53--Reduced tonal structure, Scene Seven: A Workman, mm. 1-4
resulting from the adjacency of these four contrapuntal melodic lines
reveals a preponderance of minor seconds, major seconds, and tritones
with a mixture of thirds and fourths, indicating a highly dissonant
intervallic structure for the passage.
The rhythmic format of this opening portion of the work is based on Piano, a scheme advanced by Milton Babbitt in his Three Compositions for 49
in which non-pitch elements were serialized, apparently for the first time in twelve-tone composition. 4 Unlike the relationships of six tones
4 from pairs of source-sets in a concept known as "combinatoriality,"
Babbitt's rhythmic scheme has been applied in this passage to basic permutations of the rhythm correlating with the pitch elements of the four basic sets, 0, I, R, and RI. The appropriation of these concepts in this work results from an effort to achieve variety in the rhythmic interplay between the four contrapuntal lines in the first fourteen measures. A scheme of integers paralleling Babbitt's system is as follows:
Allow each of the twelve tones to be permutated thus: 0-5-1-4-2, meaning that the first five pitches are continuous in rhythm, divided from the next integer, 1 by a rest, followed by four pitches in adjacent rhythm.
It follows that I, by inverting the above integers, will become 1-5-2-4;
R is the reversal of the first set of integers, or 2-4-1-5 and, finally,
RI becomes 4-2-5-1. This rather simple mathematical method of manipulating rhythmic elements, diagrammed in Figure 54 below, permits a disjunct
Fig. 54--System of permutation operations in the rhythm aligned with. pitches from the tone-row, Scene Seven, mm. l-7A: 5.
rhythmic design within the individual contrapuntal melodies in this passage, from the opening of Scene Seven. The imposition of a triple meter on the
passage implements the grouping of notes and rests for the performers. An additional contrapuntal feature may be observed in the vocal line is
the passage shown in Figure 52, which, with its slow rhythm, effects an aug- mentation of the original row, merged with the basic inversion derivative at
measure 7A: 4. In this way, rhythmic and melodic interplay within the shorter
note values in the accompaniment complements the vocal melodic line above it .
40Perle, op. cit., p. 146. 4lIbid., pp. 141-145.
0 50
Serialization of a different type appears in a passage for multiple divided strings in measures 7D: 5-9 of Scene Seven. A sound cluster or mass is constructed in close stretto formation from a series of sustained three-note trills, as shown in Figure 55.
.16 ANN -
I ..
I I I Ill._
IN~
I
Fig. 55--Stretto, multiple divided strings, Scene Seven: A Workman, mm. 7D: 5-8a.
Fragmentation of the row into four three-note sub-sets is illustrated in Figure 56. Only the first nine tones of the row are utilized; the
o _: 'Y RAN JAW Am
n 9 q !. Z 3 " to , , 2 ? to 7
A: RI:
, L 3 4 S" b q 1 t -3 4- s' t 7 9
Fig. 56--Three-note sub-sets derived from the first nine tones of the row, strings, Scene Seven: A Workman, mm. 7D: 5-9. 51
fourth three-note sub-set is discarded, since its perfect fourth is inconsistent with the intervallic relationships in the first three sub-sets. Distribution of the three-note sub-sets occurs downward through the string section, transposed at various intervals below the entry of the original sub-set, B-Bb-C. Wavy lines extending from the note-heads imply continuation of the rapid three-note figure in each instrumental line.
Segmentation of the row and its derivatives into six-note source sets appears in an aleatory passage for the brass instruments, cited earlier in the discussion under "Special Characteristics" and illustrated in
Figure 7. The order of these six-note sets and their identification with the individual brass parts appears in Figure 57 below. Glissandi in muted trombones combine with legato melodic movement in muted horns and trumpets.
OM F~
f1',1
I
~~-E~7-fL~ *7- 17 *
~ 14-7 .,-
Fig. 57--Six-note source sets in an aleatory passage, brasses, Scene Seven: A Workman, mm. 7D: 1-90. 52
The latter improvise their melodic lines using the six-note groups as indicated in their parts.
A wedge-shaped formation in which tone-row pitches evolve in expanding melodic intervals appears in the brass instruments in measure 7G: 4, shown in Figure 58.
-.S5'-
II Sol
Fig. 58--Wedge-shaped tone-row formation, trumpets, Scene Seven: A Workman, m. 7G: 4.
A distinctive feature of this scene in the brief complex statement for divided strings, illustrated in Figure 59. A dense sound resulting from amalgamation of contrasting rhythmic patterns, vertically arranged, resulting in a quick, rustling effect. Rhythmic ambiguity results from the simultaneous interaction of these patterns super- imposed over one another. 53
3L- _ 1 -1 'deoo" *ft,*& _ _
ME I M I n 1.La I VI 1Y r 1 FQVN-- A pA &1 OF; FOOT
v of --- - - " -
I Aft A!I 'I
wro p0~
Ito
Fig. 59--Dense sonority resulting from amalgamation of rhythmic patterns, strings, Scene Seven: A Workman, mm. 7H: 2, 3.
The stark nature of the text for this scene in the portions outlined by the interpolative accompaniment beneath it, approaches the secco recitative style from earlier musical drama. Declamatory vocal melody, lapses into ordinary speech, and the substitution of short episodes for continuous accompaniment typify the free method of setting the text for this scene.
Scene Eight: Love Song
Broad, sustained melodies over tertial sonorities characterize the musical setting for the ethereal mood of this scene. A harmonic analysis of these sonorities in the accompaniment in measures 8A: 1-5, shown in the 54
row of symbols below the reduction in Figure 60, reveals a series of added note chords in which a major second or major sixth appears above a triad or perfect fifth. Analysis of the intervallic structure of the
Fig. 60--Chord progression with analysis, accompaniment, Scene Eight: Love Song, mm. 8A: 1-5.
first seven full sonorities, indicated in the nomenclature in the
second row beneath the reduction, shows a preponderance of major thirds, major sixths, and major seconds with a mixture of sevenths, perfect fourths, and perfect fifths.42
The extent to which diatonicism forms the environment for these tonal harmonic structures is demonstrated in the fact that every tone of the D-major diatonic scale is utilized within the brief span of the first three chords ; actually, all but the tone G appear in the first two chords. Despite this diatonic environment, considerable dissonance results from the addition of seconds in these tertial sonorities.
Diatonic melodies evolve directly from these sonorities, outlining their tertial properties in seconds, thirds, fourths, sixths, and octaves, as shown in the excerpt in Figure 61. Leaps wider than an
.tWA 5IS%1 iI4 ~ l
Fig. 61--Melodic writing, solo baritone, Scene Eight: Love Song, mm. 8B: 1-3.
42Paul Hindemith's system of tonal analysis used. Paul Hindemith, Craft of Musical Composition (New York, 1937), Vol. I, pp. 109-223. 55
octave result from octave displacement within some intervals for variety and dramatic emphasis in text setting.
The concept of scoring for an enhancement of the serene quality of the text entails full strings throughout, with occasional coloring in the harp, upper woodwinds, and horns.
Scene Nine: Epilogue
As stated earlier, the final scene of The Sacrilege of Alan Kent is constructed from the materials in Scene One: Prologue. Retrograde of pitches, rhythm, and other features from Scene One appear throughout this scene, although a complete retrograde of all materials is not attempted. Complete retrograde of the final measures of Scene One, in which multiple divided strings fade away with descending glissandi, forms the opening measures of Scene Nine. Subtler means of restating the material from Scene One in Scene Nine are illustrated in the reversal of pitches in the figures for flutes, shown in Figure 62. Four notes
Fig. 62--Reversed pitches, flute figures, Scene Nine: Epilogue, m. 9L: 1.
from Scene One (marked "a" in the illustration) are reversed in Scene
Nine (marked "b" in the example).
Serial treatment in the vocal melodic line and accompaniment at
measures in Scene One recurs in this scene, again announced by imitation
in the horn and oboe in measure 9B: 1, shown earlier in Figure 28. A
comparison of the same musical phrases with different texts is shown in
Figure 63. Here, the musical setting for the words beginning "crashed 56
be$, p Wn oo.. 7F M
Fig. 63--Comparison of texts utilizing the same musical phrase, Scene One: Prologue, mm. 1G: 1-3, and Scene Nine: Epilogue, mm. 9J: 1-3a. to the floor" (example "a"' above) is restated with a trill on the climax note for the word "blood" (example "b") in the final words of the text for the end of the work.
A brief codetta comprised of the two-note ostinato in the bass instruments from Scene One concludes the work. APPENDIX
TABLE I
PARTIAL LIST OF SIGNS OR SYMBOLS INDICATING SOUNDS PRODUCED CONVENTIONALLY OR UNCONVENTIONALLY IN THE SACRILEGE OF ALAN KENT
Symbol Scene Measure Medium Method of Production
from pitch to III, IV, 3B, 4F, Voice Move slowly VII 7N: 4, 5 pitch as indicated with portamento (Sprechstimme)
IV, VII 41D, 7D: Flutes, Highest and lowest 9 Brasses available pitches-- indeterminatea
Ill AIL IV, VII )4Q, Cellos Bow over strings, Air 70: 2 behind bridge
III, VII 3B: 5, Voice Speech, rhythm only 7J: 5
IV, VII 4I, Brass, Very rapid, high 7E Woodwinds pitches; indeterminate
IV, VII 14D, Strings, Continue improvising 7D Brass pitches as indicated
VI . 6: 6 Harp Use fingernails for "falling hail" effect
IV 4D: 4 Wind All whistle when not Players playing; imitate tape; attack with fast descending glissando
4D: 4 Winds Sustain pitch as long as extension indicates
Krzysztof Penderecki, Passio (SESAC, New York), pp. 38, 40, 50, 55, 92, 97. in bIbid., p. 94; the symbol shown above differs from Penderecki the addition of staff notation and glissandi.
ccf. Igor Stravinsky, Histoire du Soldat, p. 1. dCarlos Salzedo, Modern Method for the Harp (New York, 1921), p. 8. TABLE II
TECHNICAL DATA AND DESCRIPTION OF TAPED SOUNDS IN SCENE FOUR: THE FIRE
Event Measures Duration Technical Data Description of Sounds on Tape
One 1' 45"1 1' 45" Pulse modulated Siren sounds before 4A square wave mixed with filtered white noise. Slow envelope. Alter- nating high and low pitches on keyboard control contour of "siren" lines.
Two 4B: 1 to 4011 Ascending signal: Long, slowly 4C: 18 frequency modulated ascending pitch square wave; portamento crossed portamento upward by descending on keyboard. sweep, crescendo Descending signal; to loud, stable slow band pass fil- pitch fading with tered with white echo. noise, fading with reverberation.
Three 4D: 1 to 35" Attack-decay random Pungent attacks at 4E: 1 pitches on keyboard; various pitch levels short envelope; no with descending modulation; mixing glissandi. only. Overtaping at 15 inches per second for final dubbed tape.
Four 4F:(2) to 42" Voice: microphone Sepulchral voice, lm. input through ring words "shivering, before modulator; crying," with 4G: 1 frequency modulated eerie tape in synthesizer with background. white noise and reverberation. Random pitches on keyboard with voice.
58 TABLE II--Continued
Event Measures Duration Technical Data Description of Sounds on Tape
Five 4J: 1 to l' 17" Frequency modulated Computer-like 4N: 8 pulse wave; no sounds; rapid, decay; fast, alter- staccato nating high and low pitches; pure pitches on key- sound quality . board; no reverberation. Random channel switching.
Six 4P: 10 17" Frequency modulated Two sweeping to 7"1 sawtooth wave; pitches moving after ascending portamento in the opposite )4Q on keyboard from direction, one low to high; ascending, the simultaneous other descending. descending porta- Echoes at end. mento on linear controller; fading with reverberation.
Seven 4R: 1 55" All preceding events Collage of preceding to 11" overtaped with tape sounds. Very after 1 frequency plus dense effect, 4U amplitude modulated ending in climax. sawtooth wave with Fading with echo. envelope. Entire tape reversed at 15 inches per second for final dubbing. Add reverberation and boost signal throughout.
Eight 17" 1' 25" Recapitulation of More ethereal than before Event Four above sounds in Event 4V: 1 at one-half speed. Four. to end
- |MM
59 BIBLIOGRAPHY
Books
Austin, William, Music in the Twentieth Century, New York, W. W. Norton, 1966.
Caldwell, Erskine, The Sacrilege of Alan Kent, Portland, Maine, Falmouth Book House, 193.
Dallin, Leon, Techniques of Twentieth Century Composition, Dubuque, Iowa, W. C. Brown, 1964.
Ellman, Richard, James Joyce, New York, Oxford University Press, 1959.
Hindemith, Paul, Craft of Musical Composition, Vol. I, New York, Associated Music Publishers, 1937.
Joseph, Stephan, Scene Painting and Design, London, Isaac Pitman and Sons, 1964.
Kerman, Joseph, Opera as Drama, New York, Knopf, 1956.
Korges, James, Erskine Caldwell, Minneapolis, University of Minnesota Press, 1969.
LaRue, Jan, Guidelines for Style Analysis, New York, W. W. Norton, 1970.
Newlin, Dika, Bruckner, Mahler, Schoenberg, New York, King's Crown Press, 1947.
Parker, Oren W., and Harvey K. Smith, Scene Design and Stage Lighting, New York, Holt, Rinehart and Winston, 1968.
Perle, George, Serial Composition and Atonality, Berkeley and Los Angeles, University of California Press, 1963.
Rufer, Josef, The Works of Arnold Schoenberg, translated by Dika Newlin, New York, Free Press of Glencoe, 1963.
Salzedo, Carlos, Modern Method for the Harp, New York, G. Schirmer, 1921.
Stein, Leon, Structure and Style, Evanston, Illinois, Summy-Birchard, 1962.
Wilfred, Thomas, Projected Scenery, New York, Drama Book Shop, 1965.
Articles
Pousseur, Henri, "Outline of a Method," Die Reihe (Musical Craftsmanship), III, (1959), 44-88.
Encyclopedia Articles
Apel, Willi, "Melodrama," Harvard Dictionary of Music, Cambridge, Harvard University Press, 1964.
Grove, Sir George, "Melodrama," Grove's Dictionary of Music and Musicians, Vol. V, 5th ed., London, MacMillan, 1954. 61
Loewenberg, Alfred, "Cimadoro," Grove's Dictionary of Music and Musicians, Vol. II, 5th ed., London, MacMillan,1954.
Stuckenschmidt, Hans Heinz, "Schoenberg," Die Musik in Geschichte und Gegenwart, Vol. XII, Kassel, 1965.
Musical Works
Penderecki, Krzysztof, Passio, New York, SESAC, 1967.
Schafer, Murray, Gita, Toronto University, Canadian Music Centre, 1967.
Schoenberg, Arnold, Erwartung, Vienna, Universal-Edition, 1950.
, Pierrot Lunaire, Leipzig and Vienna, Universal- Edition, 1914.
Stravinsky, Igor, L'Histoire du Soldat, London, J. W. Chester, 1918. Scere 1:PROLOQUE
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