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Metrical Issues in John Adams's <I>Short Ride in a Fast Machine</I>

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University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 2001 Metrical Issues in John Adams's Short Ride in a Fast Machine Stanley V. Kleppinger University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the Music Theory Commons Kleppinger, Stanley V., "Metrical Issues in John Adams's Short Ride in a Fast Machine" (2001). Faculty Publications: School of Music. 52. http://digitalcommons.unl.edu/musicfacpub/52 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. From Indiana Theory Review Volume 22, no. 1 (2001, appeared in 2003) Metrical Issues ill John Adams's Short Ride in a Fast Machine Stanley V. Kleppinger T IS HARD TO IMAGINE a musical surface that strikes the listener with more metrical conflict than that of John Adams's Short Ride in a Fast Machine (1986). I According to the composer, this orchestral fanfare is inspired by the experi­ ence of speeding down a highway in a too-fast sports car. As he explained in an interview: The image that I had while composing this piece was a ride that I once took in a sport car. A relative of mine had bought a Ferrari, and he asked me late one night to take a ride in it, and we went out onto the highway, and I wished I hadn't [laughs]. It was an absolutely terrifying experience to be in a car driven by somebody who wasn't really a skilled driver. 1 The result is a piece that is truly about rhythmic and metrical conflicts. In its first thirty seconds meter is manipulated in such a way that enough regularity (i.e., periodicity) is present at multiple hierarchical levels to tease the listener into making constant attempts to discover and latch on to a metrical surface, even as that surface changes. The resulting aural sensation reflects that of wres­ tling to keep control over a powerful machine, as the title suggests. My analysis is an effort to describe the way (or ways) in which this compo­ sition's metrical structure might be perceived (indeed, wrestled with) during performance. I will begin by discussing the issues involved in perceiving meter at the work's opening. This discussion will segue into a survey of the multiple levels of metrical dissonance present in this fanfare's first thirty seconds. I will show that different phenomenological elements work in tandem to blur the per­ ception of the tactus, the (periodic) measure, the hypermeasure, and metrical subdivisions. My discussion will conclude with a brief consideration of a possible "metrical narrative" of this work's opening. lJohn Adams, interview by Terry Gross, Fresh Air, 16 November 1999. Available online at http://www.npr.org/ramfiles/fa/ 19991116.fa.ram (accessed 10 November 2002). 66 Indiana Theol)' Review Vol. 22/ 1 It should be mentioned that this analysis is not meant as a demonstration of a single "correct" way to apprehend this work. Indeed, I am not sure that there is even one "hkely" way in which an individual might perceive some parts of the metrical structure of this piece. To that end, I will rely upon Andrew Imbrie's notion of the "conservative" and "radical" listeners in my discussion. 2 These terms are used to describe a given listener's approach to metrical perception. As described by Lerdahl and Jackendoff, "In a conservative hearing the listener seeks to retain the previous pattern as long as possible against conflicting new evidence; in a radical hearing he immediately readjusts according to new evi­ dence.,,3 Ultimately, much of Short Ride's metrical structure depends upon the perceptual slant of the listener, whether radical or conservative. *** The music of this work's opening is presented as example 1. The fanfare begins with a solo wood block that establishes a pulse, maintaining it without exception throughout the excerpt (and much more of the piece). This pulse must be regarded as unmetered if one presumes that meter requires the interaction of a tactus with a higher hierarchical layer-there is nothing in this music to allow the listener to partition these pulses into periodic or semi-periodic measures. A discussion of the opening nine measures will demonstrate this phenome­ non. The wood block's fourth pulse (i.e., the downbeat of notated m. 2) also marks the entrance of the clarinets and syntheSizers. At this point the listener is retrospectively able to recognize the first three pulses as a measure of triple meter. However, these additional instruments cannot do anything further to help estab­ lish periodicity. The two clarinet parts (i. e., clarinets 1 and 3-reinforced an octave lower by synthesizer I-and clarinets 2 and 4) are each outlining a pat­ tern that is rhythmically dissonant with the pulse of the wood block. Additionally, these two parts are out of phase with one another, and all the clarinets' and syn­ thesizers' music considered together creates a dizzying, shimmering effect that, because of the rapid tempo (appropriately labeled delirando), negates any impact it might have on the perception of meter at the half-note level. The point of ini­ tiation for the clarinets and syntheSizers might help to make the fourth pulse of the work metrically strong, but following that they have virtually no effect on the perception of meter (or lack of meter). 2 Andrew Imbrie, '''Extra' Measures and Metrical Ambiguity in Beethoven," in Beethoven Studies, ed. Alan Tyson (New York: Norton, 1973),45-66. lFred Lerdahl and Ray Jackendoff, A Generative Theory if Tonal Music (Cambridge: MIT Press, 1983), 22-25. Kleppinger, Metrical Issues in John Adams's Short Ride 67 EXAMPLE 1. SHORT RIDE IN A FAST MACHINE JOHN ADAMS Defkmclo (J .. I $Z) , "r:i:. .It .J!: .J!:' ,J!:~ .J!: .f" ,J!: .J!:' .1<: 1 .J!:" .1'" .J!:.' .1<: .E. :£: I f Cbrincu in A- " ~" .41:: .• 1<: .f!: .J!: ,f!: .• J!: .1<: .J!: .• J!: .J!: .J!:.1~ ,~~ .. ~ J I"" I '" HonuinF I" J"; ....,,~ .....LJ""n . ~ -~. ~ ~ .. I TrumpeuinC I " • f TrombollC$ f~""W~-,\ . Sir I I I j I I I Percussion I I, ...... .... .."., la: Vo!umt b~tt1bt~lM 1WOl)'D.\baif;mrnwbcCUCfiytoqud. i.l...,l., l.,L,L-b I~~ L~ ~~ !~Y-., " ... J!: .J!: .J!: .J!:' .J!: .J!: .J!: .l!=' • J!: .J' .l!= • f!:' .J!: .J!:.• ~ .1'=10 J':-- ~ ,1 I" , :e;' .J!: .J!: .1<: .1'= ..1'= .J!: .J!: .1':. ,1'= d. ..Ll..1'.. .J!: .J!: .e ;J!: • J!: .J!:1 • ,1 H .. r" ~F , • I" ,I> I> .. ... .. ... .. ... I> ... .""- ~ .1> .U ~~ ,1 Tpn. inC I .. • ;'" ,1 - 2'j .. .. <"'j".d·B1f4 1 I I I . I I L I I .1 .l 1 Synth 1 ," Synth , .~ L..,.L, l,.L, L...l-I L...l- ~ ~ i L,.L, ~~l~ ~ L,L,I LrL, ~ t..,.J...,1 ., © Copyright by Hendon Music, Inc., a Boosey & Hawkes company. Reprinted by permission. 68 Indiana TheoI]' Review Vol. 22/ 1 EXAMPLE 1 (continued). "'- in ,," , ~. ,~ . 1" , 1" • ~ ~ , 1" .1" ~, ~ 1"_, '" • ~.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ UlF 1 LA. • {HIPIW4.mI:.} I l..---J-""! "".1 ~'.L~+§.. ~' ~~~UJ~P:-§""'~+t~~JztzJ~~-.b~-§b.. ~ .. ~~ .... tgigJ§"'±::Jd:~..:_gj ...• § .... ~.~~t5·~~J~=1~.;q:ds§i·~=:§ ~~i~·.. ~3~ - ~ Sy"'" 1 s~mr ~ ~ ~ I L.6~._~~C2-~- -~' ~ -=ex -0:-0: .. .." -''''--7 .. ..,... -<1'-' ..... ~ __ ____ __ .... Pke.1R~~1~~~'~!~·'~~&~~~~~~~~lt.~ ~~ ~~~~~~~~~ ~,,{~ ~ L-,..L... ~ L..,.L. ~-L..,J.... ~ L-,J..., ~. ~~.~ -ej.- -r 7-.. 'OJ 'it 'it 'it 'it 'it Kleppinger, Metrical Issues in John Adams's Short Ride 69 EXAMPLE 1 (continued) . ,,~ Fl. 1 ~ ,,~ PK<. 1 " " jI--~---I ~~ 11;;:-6--.1 L- .-J '-',~ £\ ~ ~ Fl. , Pkc. 2 L- 6 --' L....-~--.l L--6 ---> I..- 8"-' , ,,~ ~~-.J Q ~ ~ I L:...;.~ Q~ ~~. 2 ,~ Q .t: .f:- .t:.t: • f:- It: . .t: ,t: .t: .t: ~:-t: e .", .1'::.'" ~ I I CU. IDA , t: .f:. .f:. .t: .t: . f:. .f:. ,f:. • f:. .f:. .t: t: .", .", .e 'e e- .e .", .£ ~~ I. I,J,.....J.I. I,J~I L~ I,.J,....J.I. I,.n L~ 1-1" Hm. I. ~ \-l: ~w: ~ W-U -0:11: inF >~ . I~ .. - . - > f-- . ...... .... - r ...... - r ~ .. .... Tpu. inC I . ':":-'.. ':'" > ':-':-'.. ':" > ':-'. ':-I. ':-':-'.. ':-I• r '---... .. ..... .--- ';--- Thru. > > - .... -- .... .... .... <'¥Wd.IlIk·1 I I I J L I I I I I I I I Perc.] Synth, I I~ Sy.",, t:: 4-, L.f-, L..r, L,L, IL,L, L,1., L,L, L,l, L,l., l,L, ~ L..,.l, Q., [ 1., [~ '" :#:#'#'# ~ :;I:;I:#'~ ~~ :# ,#~-,. 70 Indiana Theory Review V01. 22/ 1 EXAMPLE 1 (continued). "', ~;I~ll~:~~~~~~~~~~~·~~~~-~ft~~:-~~.~~=~~~-~~~~!~·~~~P~F~···~~~i lr -----r ;--= , --r T".. vI' • c .,,~ ~- . ......... -- ~---=".- .. -.... ....... - .. ---.. --- s,:u Iik~?P~-~ I.:rs L-rL, L,l-, IL..,-L, _~ L,l-, I.~~~_ ~~_ I .... -"._~. -r _ . • © Copyright by Hendon Music, Inc., a Boosey & Hawkes company. Reprinted by permission. Kleppinger, Metrical Issues in John Adams's Short Ride 71 FIGURE 1. Two metrical views of measures 1-9 12 [!J ~f*f * ffl~ {-{aff I*ff *1f4¥-ff *111 lf~f*l~ff*'lff *Iff* Iff*111 ttF4*ltfg The next important point of initiation is the entrance of the trumpets with an open fifth (D 5/ A5) at the second pulse of notated measure 3. Six pulses later the second trumpet marks yet another such point by suddenly clouding that fifth with an E5. The trumpets merely add pitch to the wood block's pulses until the point I have marked "X" in the score (the fifth quarter note of m. 6); aside from their entrance and trumpet 2' s move to E5, they do nothing to partition this work into periodic meter up to this point.
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  • 3 Live Electronic Music

    3 Live Electronic Music

    P1: SFK/SFV P2: SFK 9780521868617c03.xml CUUK1005B-Collins July 24, 2007 14:52 3 Live electronic music nicolas collins It is perhaps a general human habit to view the technological and the organic as opposites. It is certainly the case that the phrase ‘live electronic music’ strikes many a music fan as oxymoronic. Isn’t the purpose of electronics to do things for us so we don’t have to do them ‘live’ ourselves? To record, per- fect and play back performances so we can listen while cycling stationarily? To facilitate the creation of inhumanely intricate compositions that spew themselves out of speakers at the touch of a button, instead of all that messy sliding about on strings? While there is no question that composers of tape music and computer music (and a fair number of pop music producers as well) have employed electronics to exactly these ends, electronic technology has another, and possibly more profound power: enabling new and volatile connections. Don’t think Edison, think Alexander Graham Bell. Since the 1930s (well before the advent of tape) composers have been using this prop- erty of electronics to produce not just new sounds but fundamentally new approaches to organising the sonic world. Pre-history Electronic music has its pre-history in the age of steam. In 1897 Thaddeus Cahill patented the Telharmonium, a machine that weighed in at over two hundred tons and resembled a power station more than a musical instru- ment. It generated sine tones with dynamos, played from an organ-like keyboard. Cahill understood that electricity could provide not only sound but a means of distribution as well: the Telharmonium’s sounds were car- ried over the telephone lines that were beginning to be laid in major cities, intended for playback through speaker systems in restaurants, hotel lobbies and homes of the rich.