MTO 20.1: Bugallo, Harmonic and Non-Harmonic Temporal Structures
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The Rite of Spring: Rhythmic Rebirths As Delivered by Messiaen and Boulez
Te Rite of Spring: Rhythmic Rebirths as Delivered by Messiaen and Boulez* Wai Ling Cheong A century has passed since Te Rite of Spring (Le sacre du printemps) provoked a riot at the Téâtre des Champs-Élysées on 29 May 1913 and harvested a captivating success from the Parisian audience soon after wards.1 Some of the best minds of our times, Messiaen and Boulez foremost among them, attempted to unravel the ‘secrets’ of Te Rite of Spring, with rhythm prioritised as one of their main concerns. Even be- fore the end of World War II, during the difcult years of the Occupa- tion, Messiaen had already shared his pioneering study of Te Rite of Spring with his star students from the Paris Conservatoire at a private analysis class.2 Messiaen’s insightful analysis of Te Rite of Spring is often praised in a vacuum. For a very long time the details of Messiaen’s anal- ysis were known rather exclusively only to his students. In 1953 Boulez, then in his late twenties, published his exegesis of Te Rite of Spring – Stravinsky Remains (Strawinsky demeure) – which soon became one of his best known analyses and has since then left an indelible imprint on the reception history of the masterpiece.3 Te lack of any formal documen- * Tis project (CUHK14613417) is supported by the Hong Kong Research Grants Council. 1 According to Jonathan Cross, Sergey Diaghilev had assumed a critical role in engi- neering the riotous premiere. See Jonathan Cross, Rewriting “Te Rite of Spring”: Creative Responses to “Le Sacre du printemps”, in: Avatar of Modernity: Te Rite of Spring Reconsidered, ed. -
Project-Isorhythm 2019
Project 4: Isorhythmic Trio or Quartet after Messiaen What’s due when: 1. Online discussion comments posted by Tuesday October 1 at noon. 2. Preliminary analysis worksheet completed by Wednesday, October 2. 3. Rough draft completed by Wednesday, October 9. We will read them through (on piano, MIDI playback, and/or in ensemble) and discuss them in class. 4. Score and parts completed in neat copy (by hand or computer) by noon on Monday, October 14, to me by email (Sibelius or PDF; scans of neatly handwritten music are fine). Model: Messiaen “Liturgie de cristal” from Quartet for the End of Time. Instrumentation: 3-4 instruments. One and only one must be a “chord” instrument (piano, marimba, vibraphone, or guitar). The other 2-3 can be any available single-line instrument: voice, flute(s), clarinet, t. sax, bass. Duration: circa 2-5 minutes, circa 4-16 pages of score Formal procedure: Your piece will be based on one or more isorhythmic structures. Each isorhythm should employ a talea (rhythmic cycle) and color (pitch cycle) of different lengths. At least one of the isoryhthmic patterns should run through the entire movement. You may choose what elements are governed by isoryhthmic cycles: it could be certain instruments (like the piano and cello in the Messiaen), or it could be certain dimensions (for example, a harmonic progression, or the notes of a certain register) that are not necessarily localized to one particular instrument. Structure: Think about the relationship between isorhythmically determined and free writing in your piece. Remember that the isorhythmic elements are not “beyond your control” just because you follow a strict procedure, as you are determining the content of the talea and color. -
God, Desire, and Musical Narrative in the Isorhythmic Motet Susan Fast
Document généré le 2 oct. 2021 05:08 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article God, Desire, and Musical Narrative in the Isorhythmic Motet Susan Fast Crossing Borders: Interdisciplinary Studies by Canadian Scholars Résumé de l'article Franchir les frontières : études interdisciplinaires de chercheurs This article examines the relationship between late Medieval narrative canadiens structure in French literature and music (specifically the isorhythmic motet) Volume 18, numéro 1, 1997 and how that structure was shaped by deeply held beliefs within Medieval culture, including the idea that a person's identity and desires were directed by URI : https://id.erudit.org/iderudit/1014818ar God. A detailed analysis of the motet De bon espoir/Puis que la douce DOI : https://doi.org/10.7202/1014818ar rousee/Speravi by Guillaume de Machaut is made to support the argument. Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Fast, S. (1997). God, Desire, and Musical Narrative in the Isorhythmic Motet. Canadian University Music Review / Revue de musique des universités canadiennes, 18(1), 19–37. https://doi.org/10.7202/1014818ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1997 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JACQUES DELÉCLUSE’S TWELVE STUDIES FOR THE DRUM: A STUDY GUIDE AND PERFORMANCE ANALYSIS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By BRIAN STACKHOUSE Norman, Oklahoma 2015 JACQUES DELÉCLUSE’S TWELVE STUDIES FOR THE DRUM: A STUDY GUIDE AND PERFORMANCE ANALYSIS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY _________________________________ Dr. Lance Drege, Chair _________________________________ Dr. William Wakefield, Co-Chair _________________________________ Dr. Eugene Enrico _________________________________ Dr. Frank Riddick _________________________________ Dr. James Shaffer © Copyright by BRIAN STACKHOUSE 2015 All Rights Reserved. This document is dedicated to my loving and beautiful wife, Nicole as our first year wedding anniversary present. Thank you for your patience, sacrifice, and support throughout the process. Sorry it is a year late. Also to my loving and supportive parents, Roger and Carla Carelock. Thank you for never letting me give up on my dream and for making constant sacrifices throughout the long journey. ACKNOWLEDGEMENTS I wish to honor Jacque Delécluse, who died during the creation of this document on October 29, 2015. His impact on the world of percussion is monumental and will continue to be as more studies of his works are created. I would also like to acknowledge Dr. Lance Drege for his constant guidance and support throughout my degree. Thank you for providing me with numerous opportunities to succeed and reach my full potential. I would also like to thank Dr. William Wakefield, Dr. Eugene Enrico, Dr. Frank Riddick, and Dr. Susan Caldwell, and Dr. -
Chapter 3: the Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes I
Chapter 3: The Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes in notation in the thirteenth century allowed for musical experimentation in the early fourteenth century. 2. The evidence that tells us that fourteenth-century composers understood that they were doing something different can be found in two treatises: The Ars novae musicae by Jehan de Murs and the Ars nova by Philippe de Vitry. B. Music from Mathematics 1. During the fourteenth century, mathematics expanded beyond the boundaries previously seen in European thought. Music, the discipline so closely coupled with mathematics, followed suit. a. A fourfold system existed for musical time. Each of those listed is a subdivision of the previous: Maximodus, Modus, Tempus, and Prolatio. b. Each of these could be divided into two or three parts. 1) The first two are essentially theoretical concepts, and practical use resided in the latter two. 2) These possibilities yield, in modern terms: 9/8, 3/4; 6/8, 2/4. 2. Not everyone liked the innovations of the Ars nova. a. One example of disapproval is Jacobus de Liege’s Speculum musicae. 1) He dismissed the complexity and innovation as superfluous. C. Music about Music 1. Another new idea in the Ars nova concerns a growing realization of self- awareness as composers of art. 2. Music composition is seen as an art, not a craft. D. Establishing the Prototype: The Roman de Fauvel 1. The earliest surviving pieces in the Ars nova style are found in the Roman de Fauvel. a. Compiled around 1317, poem by Gervais du Bus, this manuscript includes 126 musical compositions (different genres). -