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MTO 23.4: Emmery, Review of Parsons and Ravenscroft

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MTO 23.4: Emmery, Review of Parsons and Ravenscroft Review of Laurel Parsons and Brenda Ravenscroft, eds., Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 (Oxford University Press, 2016) Laura Emmery NOTE: The examples for the (text-only) PDF version of this item are available online at: h,p:/-www.mtosmt.or.-issues-mto.17.23.4/mto.17.23.4.emmery.php 2E3WORDS: women composers, octatonicism, serialism, .esture, feminist theory, music identity, 6amlo7, Beecroft, Tower, 8ubaidulina, Chen 3i, Saariaho, Larsen, Lutyens Received November 2017 :olume 20, Number 1, December 2017 Copyri.ht ; 2017 Society for 6usic Theory [1] The publication of Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 is timely. Both of its editors, Laurel Parsons and Brenda Ravenscroft, have chaired the Commi,ee on the Status of Women, a standin. commi,ee of the Society for Music Theory. A principal motivation for their boo7 is a soberin. statistic collected by the commi,ee: since 1995, only 1.51% of all articles published in peer-reviewed music theory Bournals have been devoted to music by women composers (0 . With the publication of this much-needed collection of essaysCthe first of its kindC the editors see7 to brin. scholarly a,ention to outstandin. female composers of the twentieth and twenty-Drst centuries and to i.nite readersE interests in this excitin. contemporary concert music. [2] The present collection is the third of four volumes in a set entitled Analytical Essays on Music by Women Composers ; the other three volumes, all forthcomin., are focused on secular and sacred music to 1900, concert music from 1900 throu.h 1960, and electroacoustic, multimedia, and experimental music from 1950 throu.h 2015. To.ether, the essays cover a wide ran.e of genres: small chamber wor7s such as trios and strin. quartets; lar.e-scale orchestral music such as concertos and symphoniesF and compositions for voice, includin. son.s, son. cycles, and choral music. [0= The detailed theoretical studies adopt a variety of analytical approaches, grouped thematically into three sections. In “Order, Freedom, and Desi.n,” three essays illustrate the distinctive roles of serialism and octatonicism in post-war wor7s of Ursula Mamlo7 (1923–2016 , Norma Beecroft (b. 1934 , and Loan Tower (b. 190M . The second section, “Gesture, Identity, and Culture,” includes essays that examine how the identities of SoDa Gubaidulina (b. 1931) and Chen Yi (b. 19@0 reveal the si.niDcance of musical gesture in their compositions. Finally, “Music, Words, and VoicesJ 1 of 6 concentrates on music with text, considerin. the notion of identity where music and words conver.e. This part features analyses of compositions by KaiBa Saariaho (b. 1952), Libby Larsen (b. 1950 , and Elisabeth Lutyens (1906–83). [1= At the start of each section is a short introduction that explains the theoretical approaches unitin. the essays within the section: pitch or.anization in Part I, gestural and cross-cultural theory in Part II, and text se,in.s in Part III. Before each essay is a brief bio.raphical s7etch of the composer, providin. readers with some cultural and professional context. Each analysis focuses on a sin.le wor7 (or a movement from a lar.er wor7 , allowin. readers to en.age with a composerEs techniGue in detail by means of a representative case study. [5] Within Part I, chapter 2 opens with Loseph StrausEs analysis of the third movement of Mamlo7Es Panta Rhei (Time in Flux) , a twelve-tone piano trio from 1981. The analysis stems from StrausEs earlier essay on the same piece (2009, 140–1@ . Ois current study centers on Mamlo7Es distinct form of serialism, the extension of the serial principle to rhythm, and dispellin. the seven “mythsJ and mischaracterizations of post-war twelve-tone compositions in the literature (introduced in his 2009 essay . One compellin. aspect of StrausEs analysis is his illustration of the interplay of consonant (03/ and dissonant (014) collections throu.hout Mamlo7Es wor7. Showin. how (014) can be transformed into (037) and vice versa, Straus departs from Richard CohnEs “Northern and Southern hexatonic systems” ( 1996 , 2004 by introducin. a new triadic circle inside the outer circle; Example 1 reproduces StrausEs visualization. The prose is complemented by diagrams and an annotated score, available in hi.h resolution on the boo7Es companion website. (1) [6] Christoph NeidhPferEs outstandin. study of BeecroftEs 1961 twelve-tone Qute concerto, Improvvisazioni Concertanti No. 1 , constitutes chapter 3. The title itself raises a question: how does inte.ral serialism wor7 within the framewor7 of improvisationR NeidhPfer explains this paradoxical approach to composition throu.h the writin.s of Umberto Eco, particularly EcoEs aesthetic on the dialo.ue of time. Further, NeidhPfer contextualizes BeecroftEs aesthetic historically: Beecroft wor7ed on Improvvisazioni while aendin. summer seminars and festivals at Darmstadt and Dartin.ton and while studyin. composition with GoSredo Petrassi, all durin. her three years in Europe (1959–61 . Thus, it is not so unusual that she explored contemporary trends of total serialization, as well as the concepts of chance music and improvisation, durin. this period. NeidhPfer has once again (as in 2007 , 2009 , and 2012 expertly constructed a compellin. narrative of a composerEs complex serial techniGues informed by study of s7etches and other ori.inal documents. For instance, drawin. on ori.inal material from the University of Cal.ary Archives & Special Collections, the Archivio Lui.i Nono in Venice, and the Paul Sacher Stiftun. in Basel, NeidhPfer illustrates that BeecroftEs methodCincreasin. tension throu.h the interval successions of a rowEs pitch pairsCalso appears in the s7etches of Maderna, who used the same interval classiDcations in his own music and while teachin. composition to his students, includin. Lui.i Nono. Loosely based on Paul HindemithEs cate.oriNation of intervals, Maderna’s method (and hence BeecroftEs assi.ns numeric values to intervals, classifyin. them from most consonant (+3 for perfect consonances to least consonant (-2 for minor second and maBor seventh . [7] In chapter 4, Lonathan Bernard examines TowerEs methods of employin. octatonic collections in her 1986 orchestral composition, Silver Ladders . Scrutinizin. the ways in which Tower gradually transforms one octatonic collection into another, or creates transitions from octatonic to non- octatonic collections, Bernard classiDes six cate.ories of techniGues. Interestin.ly, he notes that some of these compositional strate.iesCnamely, wor7in. with multiple transpositions and rotations of the octatonic collection at a time—are absent in the wor7s of earlier twentieth-century composers. Thus, BernardEs study is a si.niDcant contribution not only to the scholarship on Tower, but even more generally to our understandin. of post-war American music. [8] Chapter 5, the first essay of Part II, presents Ludy LochheadEs readin. of female authorial identity in GubaidulinaEs Strin. Quartet No. 2, composed in 1987. Lochhead also examines 2 of 6 8ubaidulina’s techniGues of repetition and contrast—inte.ral processes in this quartet—in li.ht of the DeleuNian philosophy of diSerence. By analyNin. Gubaidulina’s use of timbre, articulation, pitch, dynamics, and re.ister to shape small- and lar.e-scale musical gestures, Lochhead distin.uishes three cate.ories of gestures, each characterized by several musical events: “reachin. out and tetherin.” gestures in Part 1 of the quartet; “reachin. up and renewin.J gestures in Part 2; and gestures of “affirmationJ in Part 3. Each event occurs in such a way as to maximize the concept of diSerence. LochheadEs readin. of Gubaidulina oSers an insi.ht into how the composer thinks , musically, of this concept: as the intertwinin. of sonic diSerence and repetition throu.h the passage of time (105), which resonates with DeleuNeEs notion of interlin7in. diSerence and repetition. [9] In chapter 6, Nancy 3unhwa Rao analyzes Chen YiEs compositional techniGues in Symphony No. 2 (1990 from the perspective of gesture and personal identity. In particular, Rao is interested in YiEs transfer of speciDc Chinese si.niDers, such as rhythmic percussion gestures used in Chinese operas, to a 4estern symphony. The study builds on scholarship of musical gesture and embodiment ( Cusic7 1994 , 6ead 1999 , Cummin. 2000 , Leon. and 2orevaar 2005 , Oaen 2004 , Lidov 1987 , Lidov 2006 , and Cox 2006 . (2) However, as Rao notes, she departs from these earlier studies, which focus on music of the Western tradition, in that she extends the theories to Chinese culture. RaoEs essay is the only one in the collection that examines a wor7 by a non-4estern and transnational composer, and considers her use of polystylism in the global multiculturalism of the twenty-Drst century. Illuminatin. a variety of ways in which physical en.agement relates to musical sound, musical gestures, and their expressive content, Rao oSers even more than an interpretation of Chen 3iEs musical gestures within a transnational cultural context. Rao illustrates how musical gestures guide the symphonyEs lar.er musical narrative and its dynamic process of spiritual transformation, hence interpretin. the symphony from the perspective of shi , a concept in Chinese aesthetics (130). [10] Chapter 7—now in Part III, on texted musicC&oves from polystylism to polyvocality. Lohn Roeder analyzes SaariahoEs multivoiced representation of a sin.le identity in “The Claw of the magnolia. .,” the third son. from the 1988 cycle of five vocal duets,
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