Grand Valley Review

Volume 23 | Issue 1 Article 4

2001 The rC eative Process vs. The aC non Kurt J. Ellenberger Grand Valley State University

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Recommended Citation Ellenberger, Kurt J. (2001) "The rC eative Process vs. The aC non," Grand Valley Review: Vol. 23: Iss. 1, Article 4. Available at: http://scholarworks.gvsu.edu/gvr/vol23/iss1/4

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frenzied and unforh The Creative Process vs. for "originality" (as trinsic value in and greatest composers a The Canon in a variety of differe as a testament to thE Hindemith Recycles in Ludus Tonalis in our own contempc necessary for today' s ways in which this w he contemporary composer faces many ob­ confines of a centuri Tstacles in the struggle towards artistic inde­ apparently still capab pendence. Not the least of these is the solemn music) in the hopes th realization that one's work will inevitably be might show themsel compared to the countless pieces of music that expression of our ow define the tradition of musical achievement as canonized in the "Literature." Another lies in the he need for one's mandate (exacerbated in this century by the T logical outgrowtl academy's influence) that, to qualify as innova­ ently a powerful 01 tive or original, a work must utilize some new influence. While most form or brilliantly organized and tightly wrought rather overtly in thei system (harmonic, melodic, rhythmic, philosophi­ about their lineage • cal, political, or otherwise). There is a seemingly pedagogical writings contradictory element in these two sentences in 1952) and Paul Hind Kurt J. Ellenberger is Assistant which lies the philosophical problem for contem­ in both categories (1 Professor of Music and Director porary composers today: How does one maintain populated, of course) oflazz Studies at Grand Valley a connection to the canon (whose syntax and music gives the imp1 State University. grammar must be realized or alluded to in some the defensive who is manner, however obscure, if comprehensibility body of professionals is of any concern) while at the same time break­ works really are a lo ing new ground in the search for one's own called "Common aesthetic voice? While the answers to these ques­ Hindemith' s case, his tions are deeply personal (and as such will ters theoretical, pede probably define one's aesthetic value system as stemmed from a ge1 much as they initially challenge its development), knowledge to the ne: we can see in the music of the contemporary He viewed this as a ~ masters an approach to innovation that is at the cially in an age whe1 same time both old and new. Often, this is ac­ compositional practic complished by recycling the forms, phrase the famous baroque t structure, and harmonic and melodic formulae "[like] a gushing strE from ages past and presenting them within a new banks" but rather (as context. In this way, the much-sought-after in­ torrential flood." 3 Hi novation occurs organically, without slavish because he apparent! adherence to (or mimicry of) the old styles; and tern" (as outlined in Til also without the ungratifying and quickly for­ in his own works. Th gotten oddities that are often the result of a entirely-he was not < Kurt f. Ellenberger

frenzied and unfortunately context-free search elaborate compositional system for "originality" (as if originality had some in­ for subsequent generations to trinsic value in and of itself). This century's blindly follow (he repeatedly greatest composers accomplished this synthesis warns that such a system is an in a variety of different ways, all of which stand impossibility in the creation of as a testament to the creative genius contained art). Instead, he was attempting in our own contemporary canon. It is absolutely to establish an a-stylistic means necessary for today' s composers to examine the by which a young contemporary ways in which this was accomplished within the composer could work within an oser faces many ob­ confines of a centuries-old system (one that is environment of extreme disso­ )Wards artistic inde­ apparently still capable of generating truly "new" nance, completely outside the these is the solemn music) in the hopes that resources as yet untapped realm of the Common Practice < will inevitably be might show themselves as viable tools for the Period, while still maintaining an pieces of music that expression of our own musical visions. aurally recognizable hierarchy deal achievement as of consonance and dissonance . ." Another lies in the he need for one's work to be recognized as a In short, an expansion of the this century by the Tlogical outgrowth of the tradition is appar­ harmonic language which could o qualify as innova­ ently a powerful one-few have escaped its conceivably include the most lst utilize some new influence. While most composers show their roots harshly dissonant of sonorities, and tightly wrought rather overtly in their music, others also tell us yet one that also recognized the hythmic, philosophi­ about their lineage in their philosophical and authority of the harmonic series. Is There is a seemingly pedagogical writings. Arnold Schoenberg (1874- In light of this disparity (quite ~se two sentences in 1952) and Paul Hindemith (1895-1963) belong reasonable and even expected, problem for contem­ in both categories (the latter being much less given his intent) between his w does one maintain populated, of course).1 In Schoenberg's case, the theory and his works, what then (whose syntax and music gives the impression that he is a man on is the connection between 1r alluded to in some the defensive who is trying to convince a hostile Hindemith's music and the if comprehensibility body of professionals and amateurs alike that his canon? Or, more precisely, he same time break­ works really are a logical outgrowth of the so­ which elements of the past re­ arch for one's own called "Common Practice Period." 2 In surface in his music? 1swers to these ques- Hindemith's case, his voluminous output in mat­ (and as such will ters theoretical, pedagogical, and philosophical he answer to this question etic value system as stemmed from a genuine desire to impart his T is one that speaks not only tge its development), knowledge to the next generation of composers. to the plight of composers; in its f the contemporary He viewed this as a serious responsibility, espe­ larger context it speaks to the wation that is at the cially in an age where the various "currents" of challenge faced by artists in all w. Often, this is ac­ compositional practice ran not, in the words of areas of creative pursuit. The the forms, phrase the famous baroque theorist, J. J. Fux (1660-1741), great composers, authors, visual d melodic formulae "[like] a gushing stream that has overflowed its artists, poets, and dancers of the tg them within a new banks" but rather (as Hindemith saw it) "[like] a past cast a long shadow into the uch-sought-after in­ torrential flood." 3 Hindemith has been criticized present, one that is both inspi­ ly, without slavish because he apparently did not use his own "sys­ rational and yet somehow ) the old styles; and tem" (as outlined in The Craft ofMusical Composition) daunting in the implied challenge ng and quickly for­ in his own works. This criticism misses the point that it presents to contemporary ften the result of a entirely-he was not attempting to establish some artists. In short, how does one r======-~~-=··==--·~-======~--~======

Kurt J. Ellenberger

utilize that which cannot be niques and materials used by Hindemith in Ludus Example 1: Typical Ph1 avoided (the past) while at the Tonalis 5 are fairly obvious (Hindemith' s concern same time finding a new means for clarity and comprehensibility seems always a) of personal expression? at the fore) and are indeed closely related to 6 those found in Early Music , and by extension, n order to answer this ques­ the Common Practice Period.7 These include: I tion, we will examine the work in which Hindemith' s contra­ i) church modes-primarily Phrygian, Llocrian, puntal voice finds its greatest Dorian and Aeolian; C: IV' v expression: his collection of in­ ii) regular phrase lengths which are often pe­ vvnat may not De as terludes and fugues entitled riodic; ship between the moda Ludus Tonalis. Of the work, iii) regular rhythms and meters (compound patterns found consis Hindemith said, "I am ... calling meters, when used, are quite transparent); Tonal is. Hindemith' s p1 it Ludus Tonalis because of its di­ v) key/ mode relationships within movements; norities (using primaril dactic (not to say sophisticated) vi) standard musical forms. with an occasional com quality. Our Latin experts here probably one of his mm at Yale think the title is very apt. It is the first of these that I would like to ex­ This is a means by whi I cannot find anything better in pound. Modes are featured quite prominently sense of proportion and German or English to describe and generally govern both the melodic and har­ these extremely conson clearly what it is ... [while also] monic aspects of Ludus Tonalis. Phrygian mode very obviously as cade hinting at the Well-Tempered Cla­ appears most often, which is perhaps not surpris­ balance is achieved w vier and the Art of Fugue (the ing, since this mode features an upper leading nant sonorities that ar form, that is, not the quality)."4 tone and a lowered seventh (inverse to the ma­ Form is thus also ea: It was written during jor scale). Other church modes are also featured largely to the cadentia Hindemith' s tenure at Yale and (as mentioned above), as are less familiar modes eas they establish. This ' was completed in the fall of 1943. of the ascending melodic minor scale (Praeludium Music practices where During this period, Hindemith mm. 36-49). All are used quite freely. Although denced on unisons or divided his energies between tones foreign to the mode are found regularly, These characteristics a1 integrating his musical and com­ they generally resolve in step-wise fashion (with part of Hindemith' s la1 positional theories into a occasional octave displacements and other varia­ considerable debt to thE cohesive and comprehensive tions) which tends to mitigate the higher levels was an extremely activ1 pedagogical system for the ap­ of dissonance created by writing that is so lin­ proximately 16 hours of classes early derived. Much of this occurs on the surface Closely related to tl he taught every week, and tran­ and is aurally very apparent. As such, the emo­ cadence which bears it~ scribing and orchestrating tional range of the various pieces in the collection dence. (See exampl volumes upon volumes of medi­ is large and varied; some are light and playful voice-leading in the I eval music for various choral (in some cases downright" folksy" in a medieval/ heavily on the inverted and original-instrument chamber renaissance sort of way), some are heroic, some groups (in which he also often tragic, some lilting and mournful, while still oth­ Example 2: Pre-domina1 performed). Logically, then, it ers are quite dark and almost gothic in the Phrygian Cadence would be expected that these severity of their temperament. Overall, a certain pursuits might in some way medieval flavor permeates the entire work, which have influenced his primary vo­ is easily recognized by the listener. cation, the composition of his own music. Many of the tech- .6 IV Kurt f. Ellenberger

'Y Hindemith in Ludus Example 1: Typical Phrygian Cadence (in C minor)B (Hindemith' s concern sibility seems always b) d) ~d closely related to 6 ic , and by extension, )d.7 These include: )I!.,: I; II: I; II~ I; II: I; 11.: I; I ily Phrygian, Llocrian, .6 .P6 C: PI' v IV v VII /y V +6 v ? v (quartal) s which are often pe- vv hat may not be as apparent IS the relation­ ship between the modal idiom and the cadential relationship that results from i meters (compound patterns found consistently throughout Ludus the expansion of the outer voices re quite transparent); Tonal is. Hindemith' s predilection for hollow so­ as they move in contrary motion Js within movements; norities (using primarily open fifths and octaves into the root of the dominant. ms. with an occasional complete triad) at cadences is As such, it belongs to the group probably one of his most identifiable trademarks. of similar pre-dominant chords at I would like to ex­ This is a means by which Hindemith achieved a shown in order of increasing ~d quite prominently sense of proportion and balance in his music. With chromaticism. (See example 2). the melodic and har­ these extremely consonant sonorities functioning Examples la-c are found regu­ nalis. Phrygian mode very obviously as cadential markers, a sense of larly in the music of the Common s perhaps not surpris­ Practice Period; 1 b is a typical \ balance is achieved with the often very disso­ 7 res an upper leading nant sonorities that are found within phrases. Phrygian cadence as previously h (inverse to the ma­ Form is thus also easily recognized, owing shown in example 2. ld is also >des are also featured largely to the cadential figures and the key-ar­ found in the music of earlier cen­ ~e less familiar modes eas they establish. This can also be traced to Early turies, but occurs much more inor scale (Praeludium Music practices where composers routinely ca­ rarely than la-c. le is a quartal luite freely. Although denced on unisons or open fifths (and triads). harmony (built on fourths are found regularly, These characteristics are an undeniably crucial rather than thirds), which is not ep-wise fashion (with part of Hindemith' s language, one that owes a found in the Common Practice rrents and other varia­ considerable debt to the Early Music of which he Period. It is, however, easily ~ate the higher levels was an extremely active and vocal proponent. found in Ludus Tonalis. Nriting that is so lin- As one moves from left to occurs on the surface Closely related to the Phrygian mode is the right in example 1, the cadential nt. As such, the emo­ cadence which bears its name, the Phrygian ca­ pattern becomes less diatonic Jieces in the collection dence. (See example 1). The operative and further removed from the are light and playful voice-leading in the Phrygian cadence relies original key. Aurally, the result :olksy" in a medieval/ heavily on the inverted leading-tone/ supertonic is a series of cadences that be­ orne are heroic, some come increasingly more exotic urnful, while still oth­ Example 2: Pre-dominant Chords and the and surprising, culminating in 1e Llmost gothic in the Phrygian Cadence which, as previously mentioned, ent. Overall, a certain is entirely out of the realm of :he entire work, which Common Practice Period usage. listener. )~: L~ lrR, .6 IV v (with possible third) Kurt f. Ellenberger

Now we will look at examples Example 3: Stylized Phrygian cadences in The difference in usa from Ludus Tonalis in order to Ludus Tonalis stylized Phrygian cade: see the similiarities between ancestor is worth noting Hindemith' s work and the typi­ a) Phrygian cadence (identical to medieval ca­ dence is generally incon cal Phrygian cadence. Compare dence): means that, in Common any of the excerpts in example 3 would not be a satisfact lnterludium No. 3; mm. 35-36 with example 1. Structurally, to end a piece or la then, the Phrygian cadence is Hindemith' s hybrid rna found at the heart of or conclusive. Of course Hindemith' s modern counter­ found as well. Some fea1 part. The cadence appears fully lower leading tone (res intact in example 3a, and is var­ sixth in example 2); other ied, as shown in examples 3b-d, man Practice authentic cc by means of octave displace­ belong to their own ca ment, inversion, and the b) with octave displacement material that surrounds t interpolation of extraneous a certain Phrygian char pitches between the structurally are not, by definition, P Fuga prima in C; mm. 10-11 important voice-leading of the Hindemith' s Ludus To I I Phrygian cadence. The resultant in the Early Music whk hybrid breathes new life and freely recycles material~ '-1 I ----"- vitality into an old formula. As i..--1 t.-1--- I ~ I at will in the drive towa --- .rJ----1-:1-- variations on this cadence occur * new and "old." The rec regularly in this work (and oth­ mandates are thus adeq1 I I ers), I refer to them generically decidedly original, yet i as stylized Phrygian cadences. to the canon. None of thi c) inverted: to those familiar with his sophically oriented wri Interludium No.3; mm. 21-22 Craft of Musical Composit others), he continually 1 nality-arguing that, wishes to communicate prehensible manner, the under the sun. In other · whose roots stretch bad able to provide us with < d) two voices only: as yet unmined. For the creative artist Interludium No.3; mm. 7-8 with the past inevitabl) L I ~ imitation and conceptua it not for our exposure b I is highly unlikely that 1 h.. come creative artists ow Our initial interest in a 1 ten due to the influenc whose work elicited a 1 Kurt J. Ellenberger rgian cadences in The difference in usage between Hindemith' s own personal journey then be­ stylized Phrygian cadence and its Early Music gins, myopic as it may be in its ancestor is worth noting. While the Phrygian ca­ initial phases, focusing on these lentical to medieval ca- dence is generally inconclusive in nature (which figures alone. Our field of vision means that, in Common Practice Period terms, it then expands as we come to the would not be a satisfactory cadence with which realization that these seminal 5-36 to end a piece or large portion thereof), figures in our personal pantheon Hindemith' s hybrid may be either inconclusive were themselves influenced by or conclusive. Of course, other cadence types are earlier generations of creative ~-tP found as well. Some feature both an upper and a artists. The voices of the past, at lower leading tone (resembling the augmented first mere whispers, now begin

#' sixth in example 2); others actually adhere to Com­ to assert themselves loudly and mon Practice authentic cadences; while others still irrevocably as they to material­ belong to their own category. Still, the modal ize in our own work.

~ment material that surrounds these cadences gives them This course of study is almost a certain Phrygian character, even though they an apprenticeship of sorts. are not, by definition, Phrygian cadences. Through it, a high level of sheer 10-11 Hindemith's Ludus Tonalis is thus well-steeped craftsmanship and technical ex­ I in the Early Music which he loved so dearly. He pertise is attained. It helps to freely recycles materials from the past, altering build much-needed confidence, ~}~ at will in the drive towards music that is at once which gives the maturing artist [ new and "old." The requirements of the earlier a surefooted stance from which 9 mandates are thus adequately met-the music is to proceed in the search for his decidedly original, yet it is also inextricably tied or her unique voice. In this sense, to the canon. None of this will come as a surprise its effect is very positive-in fact, to those familiar with his music or his more philo­ it is difficult to imagine mature sophically oriented writing (particularly in The artistry without it. Yet, there is 1-22 Craft of Musical Composition). In that treatise (and also another aspect to consider, others), he continually reasserts his belief in to­ one that by definition may be nality-arguing that, for the composer who stifling to the creative process. -'-+:i wishes to communicate in an objective and com­ Obviously, the artist is for­ ., prehensible manner, there is indeed nothing new ever influenced by the skills and under the sun. In other words, the tonal system, knowledge gained in the study --- ~~ whose roots stretch back into antiquity, may be of the past. This influence, which able to provide us with a wealth of new material likely begins as the means to an as yet unmined. artist's first successful attempts For the creative artist in any field, familiarity at meaningful expression, may, l. 7-8 with the past inevitably leads to some form of at some point in the future, be­

~ imitation and conceptual recycling. In fact, were come the only means of it not for our exposure to the work of the past, it expression. In short, the founda­ I is highly unlikely that we would choose to be­ tion upon which our technique ~t _1_._ come creative artists ourselves in the first place! and craftsmanship rest can be­ Our initial interest in a particular art form is of­ come a prison of sorts. While ten due to the influence of one or two figures technique and craftsmanship can whose work elicited a powerful response. Our ground and nourish us, they can Kurt f. Ellenberger

also bind and confine, relegating our work (in such as J.S. Bach, Mozar the worst case) to the unenviable position of be­ Brahms and their many cc ing mere imitation and mimicry. This is one of category. the most difficult dichotomies that every artist 3. Paul Hindemith, The C must come to terms with and ultimately solve if Book 1: Theory, trans. by Art the creative process is to be fully realized. and Company, 1970), 10. 4. Luther Noss, Paul Hinc There is a saying that is well-known in jazz circles, (Urbana and Chicago: Ur purportedly made by the great jazz drummer Art 1989), 117. Blakey when he was once asked how one becomes a jazz musician. His response was wise beyond 5. It goes without mention lexicon of fugal p1 measure while at the same time concise beyond v~rtual g~ven the piece's "didactic" 1 belief. He said: "imitate, assimilate, innovate." acter and academic subtext Technique and craftsmanship are attained through imitation and assimilation, but it is in 6. Early Music is a general the medieval and renaissar the last step, innovation, that the promise of the creative process, as elusive as it may be, is finally 7. Hindemith' s use of the ar fulfilled. title (and others) as well as (in pieces such as The F References Schwanenderer, Mathis der Visione) points clearly to 11 ro[ 1. Arnold Schoenberg and Paul Hindemith were two encyclopedic knowledge oJ of the most important (and diametrically opposed) phy of ages past. composers of the 20th Century. 8. Thomas Benjamin, Mid Schoenberg is the founder of the "2nd Viennese School" Nelson, Techniques and Mat1 which consisted of himself and his two equally re­ an Introduction to Twentieth C nowned students, Anton Webern (1883-1945) and (New York: Wadsworth Pul: Alban Berg (1885-1935). He is best known for the de­ 62. velopment of the system of composition known as "serialism." Serialism is a decidedly atonal method of composition in which the twelve pitches in the chro­ matic scale are placed in a specific order (called a "row") which is then manipulated in various ways and thus functions as the source material for all of the melody and harmony used in a given piece. Hindemith, in strong opposition to Schoenberg, was an unabashed champion of tonality. He devised his own system based on the acoustical properties of the harmonic series. In his system, however, tonality is not abandoned; rather, it allows for very dissonant structures which are contrasted starkly by the purest of consonances. He is best known for his many in­ strumental sonatas and his orchestral works, including the very popular symphony Mathis der Maler. 2. The Common Practice Period is the period from approximately 1650-1900 in which European com­ posers were all using essentially the same harmonic and melodic vocabulary in their works. Composers Kurt J. Ellenberger elegating our work (in such as J.S. Bach, Mozart, Beethoven, Chopin and enviable position of be­ Brahms and their many contemporaries fall into this nimicry. This is one of category. omies that every artist 3. Paul Hindemith, The Craft ofMusical Composition, and ultimately solve if Book 1: Theory, trans. by Arthur Mendel (Mainz: Schott be fully realized. and Company, 1970), 10. 4. Luther Noss, Paul Hindemith in the United States, ~ll-known in jazz circles, (Urbana and Chicago: University of Illinois Press, great jazz drummer Art 1989), 117. asked how one becomes 5. It goes without mentioning that the collection is a •onse was wise beyond virtual lexicon of fugal procedure-not surprising 1e time concise beyond given the piece's" didactic" (to quote Hindemith) char­ assimilate, innovate." acter and academic subtext. aanship are attained 5similation, but it is in 6. Early Music is a general term referring to music of the medieval and renaissance eras. that the promise of the e as it may be, is finally 7. Hindemith' s use of the archaic Latin for this piece's title (and others) as well as his chosen subject matter (in pieces such as The Four Temperaments, Der Schwanenderer, Mathis der Maler, and Nobilissima Visione) points clearly to his fascination with (and :)aul Hindemith were two encyclopedic knowledge of) the music and philoso­ l diametrically opposed) phy of ages past. III lry. 8. Thomas Benjamin, Michael Horvit, and Robert ·the "2nd Viennese School" Nelson, Techniques and Materials of Tonal Music: with : and his two equally re­ an Introduction to Twentieth Century Techniques, 5th ed., Webern (1883-1945) and (New York: Wadsworth Publishing Company, 1998), is best known for the de­ 62. ,f composition known as iecidedly atonal method twelve pitches in the chro­ L specific order (called a pulated in various ways urce material for all of the in a given piece. ;ition to Schoenberg, was · tonality. He devised his oustical properties of the :em, however, tonality is llows for very dissonant sted starkly by the purest known for his many in­ his orchestral works, tr symphony Mathis der

'eriod is the period from n which European com­ tially the same harmonic their works. Composers