DOCSLIB.ORG

Twelve-Tone Serialism: Exploring the Works of Anton Webern James P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Twelve-Tone Serialism: Exploring the Works of Anton Webern James P University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Spring 5-19-2015 Twelve-tone Serialism: Exploring the Works of Anton Webern James P. Kinney University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Music Theory Commons Digital USD Citation Kinney, James P., "Twelve-tone Serialism: Exploring the Works of Anton Webern" (2015). Undergraduate Honors Theses. 1. https://digital.sandiego.edu/honors_theses/1 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Twelve-tone Serialism: Exploring the Works of Anton Webern ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By James Patrick Kinney Music 2015 Introduction Whenever I tell people I am double majoring in mathematics and music, I usually get one of two responses: either “I’ve heard those two are very similar” or “Really? Wow, those are total opposites!” The truth is that mathematics and music have much more in common than most people, including me, understand. There have been at least two books written as extensions of lecture notes for university classes about this connection between math and music. One was written by David Wright at Washington University in St. Louis, and he introduces the book by saying “It has been observed that mathematics is the most abstract of the sciences, music the most abstract of the arts” and references both Pythagoras and J.S. Bach as people who noticed a connection between the two long ago.1 David Benson from the University of Georgia wrote the other one, and he dives right into some questions that the book attempts to answer, such as “How is it that a string under tension can vibrate with a number of different frequencies at the same time?” 2 I have not looked at questions this complex, but I first became interested in the mathematical composition of music when I composed a piece based off the Fibonacci sequence for a college music class. It was in a music history class covering music from the 19 th and 20 th centuries that I was first introduced to serialism, and it immediately piqued my interest. My advisor recommended that I read up on twelve-tone serialism particularly, and gave me George Perle’s book on the subject to start. He recommended that I look specifically at Anton Webern because he utilized it the most consistently in his works, which would probably be easiest to analyze. I did all of the above and decided to base my thesis on his composition Variations, Op. 27 . 1 David Wright, Mathematics and Music , vol. 28 (American Mathematical Soc., 2009), ix. 2 David Benson, Mathematics and Music (University of Georgia. Department of Mathematics, 2004), ix. 2 In my thesis, I will provide a background on how twelve-tone serialism came to be, talking about the formation of the Second Viennese School and the origins of atonality. Then I will give an overview of serialism and then dive into the specifics of twelve-tone serialism, with regards to the formation of the row and the placement into music. I will then provide an in-depth analysis of Variations and display the conclusions of my research, and finally conclude with ideas for further research. Background on Atonality Before looking at the birth of atonality, I will first take some time to describe the end of the Late Romantic period and then see how the atonality of the Post-Great War period arose. The Late Romantic period can hardly be brought up without bringing up Wagner’s Der Ring des Nibelungen , The Ring Cycle. The Ring was Wagner’s ideal of gesamtkunstwerk , or “total artwork.” 3 It was his theory that he laid out in a few pamphlets that he believed that gesamtkunstwerk was an artistic ideal that eventually “crumbl[ed]…into the individual arts – that of the dance, of music, of poetry, and of the plastic arts.” 4 He believed that it was his task to reunite the arts, and this realization culminated in the twenty-six year process that brought about Der Ring des Nibelungen .5 Wagner controlled and created every aspect of The Ring , from the music to the text to the costumes, and even had his own stage build to stage the production. The consequence of The Ring is that Wagner had developed tonal music to the extent that composers who came after him were left in his shadow and the shadow of The Ring . Einstein notes that the only operas that come after Wagner are only worthwhile because they do not 3 Alfred Einstein, Music in the Romantic Era (New York: W. W. Norton and Company, Inc., 1947), 235. 4 Ibid., 236. 5 Ibid., 236-37. 3 attempt to be heroic and philosophical in the way that Wagner’s operas were. 6 Wagner too, in addition to culminating the development of tonal music, also started the turning point towards atonality with the “emancipation of the dissonance” that started to emerge in his opera Tristan und Isolde , with the development of the dissonant Tristan chord. 7 To look at the birth of atonality, however, we cannot look at Wagner, even though he began the process of emancipating the dissonance. We must turn our attention to Arthur Schoenberg. According to Ethan Haimo, “the birth of atonality was not sudden, did not emerge complete in all of its details…Rather, there was an extended period in which the syntax and idioms characteristic of tonal music gradually disappeared and nontonal procedures began to take their place.” 8 Schoenberg, through the process of composing, gradually arrives at a place that is now considered atonality, although he rejected this term.9 This is important, because it is often thought that tonality became so complex (i.e. Wagner) that it was too difficult to “determine contextual definition as described,” and as a result, tonal functions were completely abandoned in favor of atonality. 10 While this is essentially what happened, the shift to atonality was much more gradual than this oversimplified idea implies. To see how atonality arose from tonality, Haimo looks at Schoenberg specifically, because he is undisputedly the leader of the atonal movement and is primarily responsible for bringing about this shift. He looks at one of Schoenberg’s essays, Harmonielehre , and finds that he has a particular conception of tonality that is not quite dissimilar to many others, and Haimo argues that looking at his theories of tonality can shed light on how his conception of atonality comes about. One thing he notices is that when outlining chord progressions, Schoenberg makes 6 Ibid., 257. 7 Ibid., 361. 8 Ethan Haimo, "Schoenberg and the Origins of Atonality," Constructive Dissonance: Arnold Schoenberg and the Transformations of Twentieth-Century Culture (1997): 72. 9 Paul Lansky et al., "Atonality," Grove Music Online . 10 Ibid. 4 no mention of harmonic progression, but only guidelines for moving from one chord to the next. 11 What this means is that he is able to follow his rules of chord progression, but overall, his harmonic progressions aren’t necessarily directed towards the tonic, but seem to wander aimlessly. Haimo notices that if Schoenberg restricted his method in a number of ways, such as beginning and ending a phrase on the tonic, relying primarily on diatonic notes, and using only a small number of chord progressions, his chord progressions could start to resemble more traditionally “tonal” music using the idea of figured bass. 12 However, as Haimo notes, Schoenberg rarely places these restrictions on his music, and as a result, his music is not intrinsically directed towards a tonic, even though he utilizes triads and seventh chords and proper voice leading. 13 Another clue into the idea of atonality from Schoenberg’s theory of tonality comes from his view on non-diatonic notes. It is his opinion that one should be free to utilize the notes of any of the church modes at any time, and the consequence of this is that he regards non-diatonic notes as equally viable as diatonic notes, which makes it nearly impossible to distinguish which notes are diatonic, and thus what the tonic is. 14 It is clear to see how this idea results in a disestablishment of tonal hierarchy and paves the way for atonality. The Second Viennese School I will now move the discussion to the Second Viennese School and how its constituents arrived at twelve-tone serialism. The Second Viennese School, as Auner outlines, is actually 11 Haimo, "Schoenberg and the Origins of Atonality," 74. 12 Ibid., 75. 13 Ibid., 76. 14 Ibid., 78. 5 difficult to define, and it has been defined differently over time. 15 There are various composers whose membership is questionable, but three undisputed members of the school, who I will regard as the sole members, are Arthur Schoenberg, Alban Berg, and Anton Webern, the latter two being Schoenberg’s most prominent students. The name, of course, comes from the First Viennese School of the Classical period, namely Haydn, Mozart, and Beethoven. Unlike the original school, however, named as such retroactively, this school was self-identified by its members. Apart from the fact that these composers were all born and raised in Vienna, the name also implies their belief of what they were doing as revolutionizing music as had not been done since the Golden Age of music that was the First Viennese School.
Load more

Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Music Analysis: an Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif
    DOCUMENT RESUME ED 067 359 SO 004 665 AUTHOR Fink, Michael TITLE Music Analysis: An Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif. REPORT NO TR-43 BUREAU NO BR- 6-2865 PUB DATE 1 Aug 72 NOTE 25p. EDRSPRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies; *Applied Music; Elementary Education; Higher Education; Music; Musical Composition; Music Appreciation; *Music Education; Music Techniques; *Music Theory; Secondary Education ABSTRACT One hundred and forty citations comprise this annotated bibliography of books, articles, and selected dissertations that encompass trends in music theory and k-16 music education since the late 19th century. Special emphasis is upon writings since the 19501s. During earlier development, music analysts concentrated upon the elements of music (i.e., melody, harmony, rhythm, and form). Since 1950, varying viewpoints on the teaching of music analysis have emerged, producing a surge of various analytical trends and philosophies derived from other than musical contexts. Information theory, phenomenology, and the application of computers have made the strongest impact upon music theory in recent years. Classified headings in the listing cover:1) general discussions of music analysis, 2)the analysis of specific elements of music (melody, harmony, etc.),3)principal trends and approaches to the subject, and 4)samples of analytic models. The headings reflect the evolution of trends within the subject. Author entries are alphabetically arranged under headings. Whief descriptive annotations are provided. (Author/SJM) ibie ks!) 1 I5A) SOUTHWEST REGIONAL LABORATORY FOR EDUCATIONAL RESEARCH & DEVELOPMENT Music Analysis: An AnnotatedBibliography Tit 431 August 1972 I U.S.
    [Show full text]
  • School of Music Undergraduate Journal
    39 20th Century Discussions on Instrumentation and Timbre in Regards to Pierre Boulez and Le marteau sans maître By: Elsa Marshall As elements of music, including tonality, rhythm, and form, became more and more unfamiliar in modern compositions of the 20th century, the instrumentation of a piece sometimes provided the only link to the familiarity of Western art music. The use of unconventional timbres in other pieces further weakened relations to what was conventionally understood to be music and lead to intellectual debates on what is sound and what is music. The role of electronic instruments and machines in composition, as well as the inclusion of non-Western instruments beyond the role of sound effects, were new considerations for composers of the time. For some, the inclusion of these new sounds was necessary to the development of new music. In this paper I will first discuss composers John Cage, Edgard Varèse, and Pierre Boulez's ideas about instruments and timbres. I will then examine Boulez's ideas more specifically and how these relate to the aforementioned ideas. Finally, I will study various analyses of his instrumentation in Le marteau sans maître (1952-55) in relation to these modern debates. Discussions of Technology and Sound in Compositions and Writings of Boulez, Varèse, and Cage A large part of the discussions about defining music in the writings and interviews of Cage, Varèse, and Boulez consists of the analysis of timbres used in musical composition. More specifically, there are debates over the role of timbre in composition and the distinction or lack thereof between an object that produces sound and a musical instrument.
    [Show full text]
  • The Order of Numbers in the Second Viennese School of Music
    The order of numbers in the Second Viennese School of Music Carlota Sim˜oes Department of Mathematics University of Coimbra Portugal Mathematics and Music seem nowadays independent areas of knowledge. Nevertheless, strong connections exist between them since ancient times. Twentieth-century music is no exception, since in many aspects it admits an obvious mathematical formalization. In this article some twelve-tone music rules, as created by Schoenberg, are presented and translated into math- ematics. The representation obtained is used as a tool in the analysis of some compositions by Schoenberg, Berg, Webern (the Second Viennese School) and also by Milton Babbitt (a contemporary composer born in 1916). The Second Viennese School of Music The 12-tone music was condemned by the Nazis (and forbidden in the occupied Europe) because its author was a Jew; by the Stalinists for having a bourgeois cosmopolitan formalism; by the public for being different from everything else. Roland de Cand´e[2] Arnold Schoenberg (1874-1951) was born in Vienna, in a Jewish family. He lived several years in Vienna and in Berlin. In 1933, forced to leave the Academy of Arts of Berlin, he moved to Paris and short after to the United States. He lived in Los Angeles from 1934 until the end of his life. In 1923 Schoenberg presented the twelve-tone music together with a new composition method, also adopted by Alban Berg (1885-1935) and Anton Webern (1883-1945), his students since 1904. The three composers were so closely associated that they became known as the Second Viennese School of Music.
    [Show full text]
  • The Elements of Music
    KSKS35 The elements of music Anna Gower was by Anna Gower a secondary music teacher and head of music for 18 years. She now works as a consultant for Trinity College London INTRODUCTION and Musical Futures International, as well The elements of music. DR P SMITH or MAD T SHIRT; posters on the walls of your classroom; a handy checklist as with various MEH for writing a model answer to a GCSE question; or a guide to development in an A level composition. and organisations in the UK and overseas. The elements of music have long been an important component of KS3 music, whether they’re taught as a stand- alone unit or topic, or threaded through performing, composing or listening activities in a topic-based curriculum. Often described as the ‘building blocks’ of music, the However, the elements of music are really just a set of labels and concepts under which sits a wealth of musical elements of music understanding, and a heap of vocabulary and musical language that can help to hone student responses to may have slightly music that they hear, play, sing or compose from the very start of their music education. different labels that vary from school to school. But they It’s that further layer beneath the label and concept that’s much harder to measure, and which weaves through each come with all good music learning and teaching. It’s about crafting an understanding of what makes music a medium a label or name (pitch, rhythm, through which to be expressive, to make sense of sound, and to arrange it into meaningful musical experiences etc), a concept that allow students to demonstrate their learning in ways other than a listening test or performance assessment.
    [Show full text]
  • A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino
    Twentieth-Century Music 16/3, 557–588 © Cambridge University Press 2019. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000306 A Heretic in the Schoenberg Circle: Roberto Gerhard’s First Engagement with Twelve-Tone Procedures in Andantino DIEGO ALONSO TOMÁS Abstract Shortly before finishing his studies with Arnold Schoenberg, Roberto Gerhard composed Andantino,a short piece in which he used for the first time a compositional technique for the systematic circu- lation of all pitch classes in both the melodic and the harmonic dimensions of the music. He mod- elled this technique on the tri-tetrachordal procedure in Schoenberg’s Prelude from the Suite for Piano, Op. 25 but, unlike his teacher, Gerhard treated the tetrachords as internally unordered pitch-class collections. This decision was possibly encouraged by his exposure from the mid- 1920s onwards to Josef Matthias Hauer’s writings on ‘trope theory’. Although rarely discussed by scholars, Andantino occupies a special place in Gerhard’s creative output for being his first attempt at ‘twelve-tone composition’ and foreshadowing the permutation techniques that would become a distinctive feature of his later serial compositions. This article analyses Andantino within the context of the early history of twelve-tone music and theory. How well I do remember our Berlin days, what a couple we made, you and I; you (at that time) the anti-Schoenberguian [sic], or the very reluctant Schoenberguian, and I, the non-conformist, or the Schoenberguian malgré moi.
    [Show full text]
  • Bmus 1 Analysis Week 9 Project 2
    BMus 1 Analysis: Week 9 1 BMus 1 Analysis Week 9 Project 2 Just to remind you: the second project for this module is an essay (c. 1500 words) on one short post-tonal work from the list below. All of the works can be found in the library; if they’re not available for any reason, ask me for a copy. (Most can be found online as well.) Béla Bartók, 44 Duos for Violin, no. 33: ‘Erntelied’ (‘Harvest Song’) Harrison Birtwistle, Duets for Storab, any two movements Ruth Crawford-Seeger, String Quartet, movt. 2: ‘Leggiero’ or movt. 3: ‘Andante’ György Kurtag, Játékok Book 6, ‘In memoriam András Mihály’ Elisabeth Lutyens, Présages op. 53, theme and variations 1-2. Olivier Messiaen, Préludes, no. 1: ’La Colombe’ Kaija Saariaho, Sept Papillons, movements 1 and 2 Arnold Schoenberg, 6 Little Piano Pieces, Op.19: No. 2 (Langsam) Igor Stravinsky, 3 pieces for String Quartet, no. 1 Anton Webern, Variations op 27: no. 2 What to cover You may format your essay as you wish, according to what best suits the piece you’ve selected. However, you should aim to comment on the following (interrelated) features of your chosen work: • Formal Design o How is this articulated? This may involve pitch / tempo / changes of texture / dynamics / phrasing and other musical features. • Pitch Structure o Use of interval / mode(s) / pitch sets / 12-note chords and other techniques • Nature and Handling of Melodic and Harmonic Materials o How is the material constructed, treated, developed and/or elaboration in the work? Do not forget the importance of rhythm as well as pitch.
    [Show full text]
  • Edinburgh International Festival 1962
    WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry.
    [Show full text]
  • Study Guide: Graduate Placement Examination in Music History
    GRADUATE PLACEMENT EXAMINATION IN MUSIC HISTORY STUDY GUIDE The Graduate Placement Examination in Music History is designed to ascertain whether incoming graduate students have a knowledge of music history commensurate with an undergraduate degree in music. It is typically offered prior to the first day of classes each semester. Students are asked to identify important historical figures, define important terms, compose a brief essay, and draw conclusions from a musical score. Some knowledge of musical traditions beyond the Western/European classical traditions, including topics such as “world music,” “folk music,” and “popular music,” is also expected. The ninety-minute examination comprises the following sections: 1. identification of composers and schools of composition (choose from a list provided during the exam); worth 25 points, allow approximately 20 minutes 2. identification of terms (choose from a list provided during the exam); worth 25 points, allow approximately 20 minutes 3. essay (choose a topic from a list provided during the exam); worth 30 points, allow approximately 30 minutes 4. score identification, including: historical period and approximate date of composition; genre, its important stylistic features, and how/where they can be seen in the piece; and the name of the likely composer; worth 20 points, allow approximately 20 minutes. This study guide provides lists, organized by historical era (with approximate dates), of major figures, genres, and terms from music history. They are not necessarily complete or comprehensive lists of items that will appear on the test. For further review, the faculty recommend consulting the textbook (and accompanying scores and recordings) used in the undergraduate core music history sequence in the Department of Music.
    [Show full text]
  • An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First I
    An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First International Conference on Music and Minimalism University of Wales, Bangor Friday, August 31, 2007 Minimalism is perhaps one of the most misunderstood musical movements of the latter half of the twentieth century. Even among musicians, there is considerable disagreement as to the meaning of the term “minimalism” and which pieces should be categorized under this broad heading.1 Furthermore, minimalism is often referenced using negative terminology such as “trance music” or “stuck-needle music.” Yet, its impact cannot be overstated, influencing both composers of art and rock music. Within the original group of minimalists, consisting of La Monte Young, Terry Riley, Steve Reich, and Philip Glass2, the latter two have received considerable attention and many of their works are widely known, even to non-musicians. However, Terry Riley is one of the most innovative members of this auspicious group, and yet, he has not always received the appropriate recognition that he deserves. Most musicians familiar with twentieth century music realize that he is the composer of In C, a work widely considered to be the piece that actually launched the minimalist movement. But is it really his first minimalist work? Two pieces that Riley wrote early in his career as a graduate student at Berkeley warrant closer attention. Riley composed his String Quartet in 1960 and the String Trio the following year. These two works are virtually unknown today, but they exhibit some interesting minimalist tendencies and indeed foreshadow some of Riley’s later developments.
    [Show full text]
  • Survey of Music History I
    MUHL M106 Introduction to Music Literature 2 credits Spring semester 2019 Ravi Shankar and Philip Glass working on Passages, 1990 (image from Maria Popova, “Remembering the Godfather of World Music: Ravi Shankar + Philip Glass, 1990,” Brain Pickings (13 December 2013), https://www.brainpickings.org/2012/12/13/pa ssages-ravi-shankar-philip-glass-1990/ , accessed 1 January 2020) Classes TR 8:30-9:20, CM 204g WF 10:30-11:20, CM 135 Bulletin description This course is an introduction to fundamental musical concepts and terminology as applied to listening skills. Students will study a selected body of standard genres and styles used in western art music from c. 800 to the present. This semester I am experimenting: rather than the “snapshots” focused on single pieces we have used in this course in recent years, we will consider specific decades (“snapshots”) in the “long twentieth century” (for me starting in 1889, the year Claude Debussy encountered gamelan music at the Paris World Exhibition), bringing together musics from across the traditional boundaries of western art music (aka “classical” music), jazz, popular, and world musics. We will, as usual, begin with a more general unit on the elements of music. A major focus throughout the course will be on developing skills in active listening and writing/talking about music. Prerequisites Co-requisite: MUTH-M103. This means you must currently be taking (or have taken) Theory II. Please let me know if you have questions on this front or are unsure if this course is appropriate for you. This course is not available for Loyola Core credit.
    [Show full text]
  • Surrealism and Music in France, 1924-1952: Interdisciplinary and International Contexts Friday 8 June 2018: Senate House, University of London
    Surrealism and music in France, 1924-1952: interdisciplinary and international contexts Friday 8 June 2018: Senate House, University of London 9.30 Registration 9.45-10.00 Welcome and introductions 10.00-11.00 Session 1: Olivier Messiaen and surrealism (chair: Caroline Potter) Elizabeth Benjamin (Coventry University): ‘The Sound(s) of Surrealism: on the Musicality of Painting’ Robert Sholl (Royal Academy of Music/University of West London): ‘Messiaen and Surrealism: ethnography and the poetics of excess’ 11.00-11.30 Coffee break 11.30-13.00 Session 2: Surrealism, ethnomusicology and music (chair: Edward Campbell) Renée Altergott (Princeton University): ‘Towards Automatism: Ethnomusicology, Surrealism, and the Question of Technology’ Caroline Potter (IMLR, School of Advanced Study, University of London): ‘L’Art magique: the surreal incantations of Boulez, Jolivet and Messiaen’ Edmund Mendelssohn (University of California Berkeley): ‘Sonic Purity Between Breton and Varèse’ 13.00 Lunch (provided) 13.45 Keynote (chair: Caroline Potter) Sébastien Arfouilloux (Université Grenoble-Alpes) : ‘Présences du surréalisme dans la création musicale’ 14.45-15.45 Session 3: Surrealism and music analysis (chair: Caroline Rae) Henri Gonnard (Université de Tours): ‘L’Enfant et les sortilèges (1925) de Maurice Ravel et le surréalisme : l’exemple du préambule féerique de la 2e partie’ James Donaldson (McGill University): ‘Poulenc, Fifth Relations, and a Semiotic Approach to the Musical Surreal’ 15.45-16.15 Coffee break 16.15-17.15 Session 4: Surrealism and musical innovation (chair: Paul Archbold) Caroline Rae (Cardiff University): ‘André Jolivet, Antonin Artaud and Alejo Carpentier: Redefining the Surreal’ Edward Campbell (Aberdeen University): ‘Boulez’s Le Marteau as Assemblage of the Surreal’ 17.15 Concluding remarks 17.45-18.45 Concert: Alexander Soares, Chancellor’s Hall Programme André Jolivet: Piano Sonata no.
    [Show full text]