The Chronological Development of Carl Ruggles' Melodic Style Author(s): Reviewed work(s): Source: Perspectives of New Music, Vol. 16, No. 1 (Autumn - Winter, 1977), pp. 36-69 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/832848 . Accessed: 21/12/2011 16:03

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http://www.jstor.org THE CHRONOLOGICAL DEVELOPMENT OF CARL RUGGLES' MELODIC STYLE

JAMES TENNEY

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The music of Carl Ruggles has recently become a subject of theoret- ical interest again, after a long period of neglect. In particular, Steven E. Gilbert has pointed out certain features of Ruggles' later works which are amenable to "trichordal" analysis.' In this paper I shall report the results of some statistical analyses of Ruggles' melodic lines, carried out with the aid of a computer. Certain aspects of Ruggles' music-the general shape of the lines, the ever-present dissonant sonorities-are so consistent throughout all of his pieces that one can easily get an impression of singular stylistic homogeneity-as though there were no significant changes or develop- ments in style from 1919 (Toys) through 1944 (Organum). My re- sults suggest just the opposite conclusion-at least with respect to his melodic writing-and lend support to a statement he made in a letter to in January 1926:

More and more I'm gaining that complete command of line which, to me, is the basis of all music. There is absolutely no comparison be- tween that which I've done [and] that which I'm doing now. 2

Significant changes in Ruggles' melodic style are manifested in my statistical results in three ways: ( 1 ) a gradual shift in the distribution of melodic-interval frequencies; (2) a more and more effective avoid- 1 Steven E. Gilbert "The 'Twelve-Tone System' of Carl Ruggles: A Study of the Evocations for Piano", Journal of , Vol. 14, 1 (1970), pp. 68- 91; "Carl Ruggles (1876-1971): An Appreciation", Perspectives of New Music, Vol. 11, No. 1 (1972), pp. 224-232; "An Introduction to Trichordal Analysis", Journal of Music Theory, Vol. 18, 2 (1974), pp. 338-362. 2 John Kirkpatrick, "The Evolution of Carl Ruggles", Perspectives of New Music, Vol. 6, No. 2 (1968), pp. 146-166. CARL RUGGLES' MELODIC STYLE 37 ance of early pitch-class recurrences; and (3) an increase in the fre- quency and proximity of dissonant relations within his melodic lines.3

Interval frequencies Tables and graphs of interval-frequency distributions for each piece and for certain groups of pieces are shown in Figures 1 through 23; in Figures 24 through 25 the relative frequencies of various intervals and interval-sets are shown, as a function of their chronological se- quence (see pp. 43-67). For these latter, the information has been grouped into six data-points, as follows: (1) the period 1919-23 (which includes Toys, Angels, and the three movements of Vox Cla- mans in Deserto); (2) Men and Mountains ("Men", "Lilacs", "Marching Mountains", 1924); (3) Portals (1925); (4) Sun Treader (1931 ); 4 (5) Evocations I-IV ( 193 7-43 ); and (6) Organum ( 1944). From these graphs we can get a very clear picture of certain develop- mental aspects of Ruggles' melodic style. First of all, there is a decisive trend from a relatively diatonic to a highly chromatic idiom, shown by the increased use of minor 2nds and major 7th, and a correspond- ing decrease in the use of major 2nds and minor 7ths. In addition, there is a significant increase in the frequency of , and (to a lesser extent) perfect 4ths and 5ths, with a decrease in the frequency of minor 3rds, major 3rds, and major 6ths-all of which suggest a progressive elimination of triadic/tonal implications. In many ways (note especially the graphs for minor 2nds, tritones, major 2nds, minor 3rds, and major 7ths in Figure 24) there is a radi- cal change between Portals (1925) and Sun Treader (1931)-and it was during just this period that Ruggles made the statement to Cowell quoted earlier. By the same token-according to the same criteria- his last completed work, Organum (1944), marks a return to some of the conditions characteristic of the earlier works (see these same in- terval-plots, Figure 24, and also the superimposed graph for Organum vs. earlier groups of pieces, Figure 21). In a sense, of course, Portals is a transitional work, between two fairly distinct style-periods. Whether

3 Note: "dissonant relations" will be used here to mean, exclusively, the rela- tions of the minor 2nd, major 7th, and minor 9th. 4,Note: partly because of the complexly contrapuntal nature of certain parts of Sun Treader, and partly because whole long sections of the piece are nearly iden- tical to earlier sections, I have used only the first half (bars 1 through 118) for input data. I am convinced, however, that this will in no way lessen the signifi- cance-or even the effective "accuracy"-of my results. 38 PERSPECTIVES OF NEW MUSIC it should be considered the last of the early works or the first of the later works would depend on many factors not considered here, but the superimposed plot (Figure 22) of interval-frequency distributions for Portals, the pieces preceding Portals (i.e., 1919-24), and those following it (1931-44), clearly suggests that it belongs to the early group, at least in terms of melodic-interval statistics. Figure 23 shows superimposed plots of interval-frequency distribu- tions for the early vs. the later periods, and here the trends mentioned above can be seen quite clearly-the increase in the use of minor 2nds, tritones, 4ths, 5ths, and major 7ths, and the decrease in the frequencies of most of the other intervals-especially major 2nds, minor and ma- jor 3rds, major 6ths, and minor 7ths. The interval-frequency distribu- tion for all of Ruggles' pieces together is shown in Figure 20. As in the plots for individual pieces, these are graphed in two ways, one distin- guishing between ascending and descending forms of each interval, the other combining these into one plot of "absolute intervals". It is of interest to note that there are rather significant differences between ascending and descending interval frequencies for certain intervals- most importantly, I think, perfect 4ths and 5ths. What this plot tells us about these two intervals is that ascending 4ths (and descending 5ths) occur much less often in Ruggles' work than descending 4ths (and ascending 5ths). In the first case, descending 4ths are used 1.75 times as often as ascending 4ths. In the other, ascending 5ths occur 2.17 times as often as descending 5ths. This discrepancy is found in most of the individual pieces, too (though there are some exceptions -most notably Organum), as well as in the overall statistics, and seems to constitute an important tendency in Ruggles' melodic writing. An explanation of the discrepancy suggests itself immediately. Both the ascending 4th and (even more) the descending 5th can easily imply or evoke a V-I cadential sense, "rooting" the melodic line (har- monically) at the second tone and thus obstructing the ongoing mo- mentum of the line. Another sort of asymmetry between ascending and descending in- terval frequencies can be seen in Figure 25. The smaller intervals (up to and including the ) occur most often in descending form, while intervals larger than the tritone tend to occur most frequently in ascending form.5 The shape of the larger melodic gestures implied by 5 Note: The differences between 4ths and 5ths in this respect, mentioned above, might be merely a special case of this more general condition, but I believe the harmonic consideration I have suggested to explain it is, at the very least, an im- portant contributing factor. CARL RUGGLES' MELODIC STYLE 39 this asymmetry is one involving a faster ascent, and a slower descent, thus: . I have no way of knowing whether this is a distinctive feature of Ruggles' style, or whether it is, in fact, typical of other styles as well (though I suspect it is). In any case, it might be an interesting line of investigation for someone involved in comparative studies of musical style.

Pitch-class repetition and dissonant relations Ruggles' intention to avoid early pitch-class recurrences in his me- lodic lines has often been mentioned. In New Musical Resources6 (first published in 1930), Henry Cowell described Ruggles' procedure as follows:

Carl Ruggles has developed a process for himself in writing melodies for polyphonic purposes which embodies a new principle ... He finds that if the same note is repeated in a melody before enough notes have intervened to remove the impression of the original note, there is a sense of tautology, because the melody should have proceeded to a fresh note instead of to a note already in the consciousness of the listener. Therefore Ruggles writes at least seven or eight different notes in a melody before allowing himself to repeat the same note, even in the octave.

And in 1932, wrote: The determining feature or principle of the melodic line is that of non-repetition of tone (either the same tone or any octave of it) until the tenth progression. This applies rigidly to the leading melody and characterizes the other parts to a surprising extent, though in Portals many repeated notes may be found at the fourth, fifth, and sixth progression.... Reiteration (immediate repetition) is occasionally ef- fective, but only occasionally. The repetition of tones resulting from reiteration of phrase (as in the 6th and 7th measures of Portals and again in the 9th and 10th) constitutes, I believe, almost the only exception to the principle.7

The similarity of this "principle" to analogous procedures in the works of Schoenberg, Berg, and Webern is obvious, but it is important to

6 Henry Cowell, New Musical Resources, (2nd edition), Something Else Press, (1969), pp. 41-42. 7 Charles Seeger, "Carl Ruggles", The Musical Quarterly, Vol. XVIII, No. 4 (1932), pp. 578-592. 40 PERSPECTIVES OF NEW MUSIC note that there may have been a slightly different reason for it in Rug- gles' case. Schoenberg has written: The construction of a basic set of twelve tones derives from the in- tention to postpone the repetition of every tone as long as possible. I have stated in my Harmonielehre that the emphasis given to a tone by a premature repetition is capable of heightening it to the rank of a tonic.... It seemed in the first stages immensely important to avoid a similarity with tonality.8 Although Ruggles undoubtedly shared this desire to avoid giving any pitch "the rank of a tonic", this was not his only reason, or even his main one. I believe that what he was primarily concerned with was freshness-newness, maximal variety of pitch-content-and the sus- taining of a high degree of atonal or atonical (but nevertheless har- monic) tension. As Seeger observed: The harmonic variety, added to the extreme floridity of the melodic and contrapuntal fabric, gives one a feeling of having heard a great deal in a very short time.9 This is reminiscent of Schoenberg's remarks about Webern's brevity, and perhaps tells us something about the brevity of most of Ruggles' pieces, as well as their small number in his total oeuvre. The fact that it was Ruggles' intention to postpone pitch-class repe- titions as long as possible (whether this be after "seven or eight dif- ferent notes", as Cowell wrote, or "until the tenth progression", as Seeger described it) is thus well documented. To my knowledge, how- ever, no systematic effort has yet been made to determine precisely to what extent this intention was actually realized in the finished works. In order to investigate this aspect of Ruggles' melodic style, the com- puter program kept a running count of "Lengths of Strings of Dif- ferent Pitch-classes" ("LSDP"), and computed overall averages ("ALSD") of these string-lengths for the primary melodic line in each of Ruggles' pieces. In Toys and Vox Clamans in Deserto the "primary melodic line" was simply the voice part. In the other pieces it was generally taken to be the highest part, although secondary, contrapun- tal parts were sometimes included when there was a temporary cessa- tion of activity in the upper part. Immediately repeated pitches (or, as

8 , "Composition with Twelve Tones (2)", Style and Idea, (2nd edition), St. Martin's Press (1975), p. 246. 9 Charles Seeger, op. cit. p. 588. CARL RUGGLES' MELODIC STYLE 41

Seeger refers to them, "reiterated tones") were treated as a single occurrence of that pitch. In addition to his tendency to avoid early pitch-class recurrences, there is another characteristic of Ruggles' melodic writing which has not been dealt with in the analytical literature. I referred to this earlier as "the frequency and proximity of dissonant relations within his me- lodic lines". That is, even in the absence of such interval-relations be- tween consecutive pitches, some such relation will generally be found between each new pitch and one of the several immediately preceding pitches. To provide information on this feature, the program was de- signed to keep a running count of "Lengths of Strings of Consonant Intervals" ("LSCI"), and to compute overall averages of these ("ALSC") for each piece. In order to clarify the nature of the statistical measures involved here, let us consider the following example-the first long phrase in Portals. The twenty-four consecutive pitches in this initial phrase are shown in Figure 26. The numbers immediately above the staff ("LSDP") show the lengths of strings of different pitch-classes pre- ceding (and including) each element in the line. The numbers imme- diately below the staff ("LSCI") indicate the lengths of strings of pitches preceding each element which are consonant with respect to that element ("consonant" being defined here as any interval except the minor 2nd and its derivatives). Consider, for example, the D (ele- ment #12) which marks the high-point and approximate mid-point of the phrase. The value of LSDP is 9, meaning that this D is the ninth element in a string, all of whose pitch-classes are different. The value for LSCI is 2, meaning that this D is preceded by only two pitches in consonant relation to it, the third preceding pitch-the Eb, of element #9-being in a dissonant relation to it. Note the sudden change in both values at element #13-the Bb immediately following this high D. The value of LSDP drops from 9 to 3, while that of LSCI jumps from 2 to 8. I now suggest that these two measures, averaged over the total length of each piece, can provide useful indices of an important aspect of Ruggles' melodic style-its "atonal chromaticism" -a part, at least, of what Gilbert calls Ruggles' "twelve-tone system". Other measures are certainly conceivable, but these-especially ALSD -are particularly significant in Ruggles' case, because they relate so closely to his declared intentions. The values for ALSD and ALSC are shown graphically in Figure 27, and it will be seen that there is a nearly perfect correlation be- 42 PERSPECTIVES OF NEW MUSIC tween ALSD and the chronological sequence in which Ruggles' pieces were written.10 The correlation between chronological sequence and LSCI is only a little less perfect, reaching its lowest point with Sun Treader, and then increasing again (though only slightly) in the later works. Consider for a moment what is meant by the incredibly high values for ALSD reached in Sun Treader, the Evocations, and Or- ganum. It is, in each case, almost 9, which means that at every mo- ment in the process of composing these melodic lines there were only four pitch-classes remaining to choose from for the next tone-and not even all of these four would necessarily satisfy certain other con- ditions, such as the desire for dissonant relations in close proximity. Very severe constraints indeed, for a music which sounds so free! At this point I almost feel compelled to apologize for using statistics in a study of Carl Ruggles' music-or at least to make some effort to justify it. Carl was a friend and mentor to me, early in my own mu- sical life, and I know well the disdain he had for theoretical constructs detached from the expressive, intuitive core of the musical process. And yet, as Charles Seeger says so perceptively "in memoriam", [although] Carl was no theorist... he admired it in others, especially when they worsted him in argument or brought some point to sup- port his contention."1

I would like to think that the statistical results reported here may in- deed support his "contention", quoted earlier- More and more I'm gaining that complete command of line which, to me, is the basis of all music...

10 The points marked x in Figure 27-and the numbers in parentheses following the value for ALSD in the tables at the top of Figures 1-18-are values attained when the "phrase-reiterations" Seeger refers to are deleted from the input data. ALSD naturally increases somewhat when this is done, but the general trends in Ruggles' melodic style are well represented even without these deletions. 11 Charles Seeger, "In Memoriam: Carl Ruggles (1876-1971)", Perspectives of New Music, Vol. 10, No. 1 (1972), pp. 171-174. CARL RUGGLES' MELODIC STYLE 43

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"Vs CAt%YtoN o ._ 3;Z 0o'7o/U7eI /4 -7ervq/V 7e"C)eP1u(e. '3o 28 /' 19/?-/Izr - /- 19l3/ /1ql 2.2f d -?x CI I \

r 0 10I0 nC, 8 20

0o 2 3 Y 5s 6 7 9? /O / /5 > /5

cn Figure 23 Melodic-interval frequency-distributions for the early vs. the later works (1919-25 vs. 1931-44). 66 PERSPECTIVES OF NEW MUSIC

% i 370 -3

8 / ?28

' *I,/\jior 2/n VAjor 222 \322 zo 26 18 1 (6 \

O8 ri-7L-oBr 8 \ , 6b * 2 2 I o I I I I

,r minor 3r:s I( It 1f v'fl 'jor 5rd5 ^ ~ ~~12\. ~ / 12

o I I , 0 I I I I |

/A 5 /\ (z pe

0 I I I I I I 0

2 a.T2 8 9

2o !, . I I I I I o I ! r !

10 a

6 mh,6or6r ',+hs

o II I 0

Figure 24 Absolute-interval frequencies as a function of chronological sequence. CARL RUGGLES5 MELODIC STYLE 67

% sQl(e- /4ev4l/3 ( -frirfL,npe) lqrer jinervqIls (> 070 ritonc)

48 o_ 0, 4', w 90 'Z )2. 25 20 2Ss2; 4'

1 0 OI -- 8 0---0 ,~~~~~~~~ 4 o a I I I I I I

per&c qfS IA 10 / ' a sce nd ir /- qcenJdinq 1 IL j0 o'- dcscerdind 8 8 6 6

0- - - -?- -? - - - 0 O I I I I I I

l% Mords- % a miror . o zo o major2o,- J8 / o 16 0~~~~~~~~~~~~~,"~~ /S\0 10 8 o 6 0 \ 0 \0... o I ! I I I I o I I I I I I

Figure 25 Ascending vs. descending interval frequencies. Ic I

68 PERSPE CTIVES OF NEW MUSIC

II' t% s II 11I vllr TV?.

e

,to

.%.

tso

* .. 0

o

j c,o I4n w^, 0 --1{h bO t.l. 44A { I cn $N L. s I V",O" b ., <^ 0 ,to II -4

I tn 3 ItZA, lih

t4

-4 Q < -4 CARL RUGGLES' MELODIC STYLE 69

0-_

8 7 AL5P

ALcs

9%2

I a I ? I ? I I ? 0 I II I 0I t(N II 11 W.TM O_-0 0-, 0- , Q-- la- XC -.. 0

Figure 27 ALSD and ALSC as a function of chronological sequence.