The pitch contour is obtained by striking string at varying distance from bridge. The note following thrown bow should be sharply articulated each time. I ask these questions in hopes to discover what sound assumptions are implied and how a performer would apply them for a given metaphor. In examining this movement, it appears to feature bowed harmonics—both on stringed instruments and the Tam-tam.
The second violin bows harmonics on both the Tam-tam and the violin, while the cello also bows harmonics and plays its melodies using the same technique. Perhaps, the composer is attempting to emulate the sounds of bells, by featuring harmonics throughout this movement. While the arco harmonics between the second violin and cello could 12 Crumb, Black Angels, 2. Could this then be an unspoken assumption?
Even in examining the notational and textual instructions against the recording, it is difficult to be purely objective. One has to revert to one' own subjective assumptions, in order to define the sound of the said metaphor. This then poses several assumptions for the performer and from the composer. Although some metaphors seem tangible and are found in nature such as insects , Crumb postulates them as coming from outside of nature with religious and ritualistic connotations.
Two notational symbols were examined additionally in this movement, in attempt to extract other kinds of imposed sound assumptions. The first examined is the gradual bowing pressure symbol see Appx. The second examined symbol indicates a pedal tone technique see Appx. With these assumptions in mind, the performers who play these passages might not be aware of the metaphorical symbol alluded with the Dies Irae reference.
Yet, from listening to the recording of this segment, the lower notes of the pedal tone passages are almost inaudible because they are overpowered by the sound of the Tam-tam. Viols and Death In the sixth movement, Crumb employs a couple of metaphors that demands specific performance assumptions.
The first is a sound metaphor that requires the string quartet to sound like a consort of viols. This movement in particular has two versions orig. In examining both versions, the original requires an atypical instrument position for the string players—having them hold the string instruments like viols holding the violins and viola in upright position. The alternate uses normal instrument position, but uses notational and textual instructions such as sul tasto and senza vibrato to mimic an out of tune viol sound.
The original version thus demands certain performance assumptions that might not be idiomatic to modern string players. Second, it challenges trained string players to play out of tune purposely by using an atypical performance technique.
The beginning pitch could be indicated by a chalk mark on the fingerboard. Black Angels The seventh movement bears the title of this work, Black Angels pp.
Each instrument, as they have separate parts, are in separate staves; and when in unison, all instruments converge together on a single staff pp. Nevertheless, the main question regarding the use of mannerist notation is what kinds of visual assumptions do performers make while reading this notation?
An important pitch element in the work—ascending D-sharp, A and E—also symbolizes the fateful numbers 7 — Whether or not the performer or the audience perceives these assumptions, Crumb evidently implies these given and unspoken assumptions in the score, in order to sound out his chosen numerological, socio-political, and religious metaphors. Violin I, II, and the Viola performs the trio p. It employs a col arco legatissimo technique, thus each performer bows the crystal glass to generate its sound.
Each violin uses seven crystal glasses, while the viola uses six; each set of crystal glasses is tuned to specific scales, as noted in the score p. This then demands certain kinds of religious assumptions from the cellist, in an attempt to effectively communicate the chosen metaphor. Performers might ask some of the following assumptions. To which religion does this God refer to? If so, what would the voice of this God metaphorically sound like? Although these questions can be rhetorical, examining these assumptive positions may help deduce the effectiveness of the chosen metaphor, or the lack thereof.
Slide rod along string to produce pitches. However, when an audience has been listening and experiencing all of the sound metaphors performed in this piece, one could argue that the audience has been sonically contextualized. Yet, I still find it difficult to state this conclusion definitively, without leaving out some inherently ambiguous facets about human assumptions. In light of all the materials I examined, I created a concept map of my findings to visually summarize my research see Appx.
To then recreate a phenomenological sound event, one uses a visual method to communicate a sound metaphor—specifically via notational and textual instructions.
From this point, the process continues towards a sounding performance of the modified metaphor—based on both unspoken and newly created assumptions.
This detour thus causes the performer to experience an unintended or unexpected sound event. Had the process of communicating and interpreting the inscribed sound metaphor not detour, it would have interpreted the notational and textual instructions via given assumptions— which then combines both instructions and performs the music uninterruptedly, based on the clearly given assumptions derived from the notational and textual instructions.
I discovered that by tracing back the source of my original concept map, I realized that there may be two possible aesthetic approaches to sound: an epistemological approach or by a phenomenological approach.
The first, traces down to a visually- and textually-oriented communication of metaphor which then uses notation and text, along with all of its accompanying sound assumptions. The latter approach surprisingly appeared much simpler in my concept map see left side of Appx. A simple desire or decision to experience the sound event caused me to trace the process down an experiential or improvisatory approach to sound. Another possibility was to simply experience the expected sound event—something that one has already experienced, or have had an auditory memory of the familiar sound event.
It already is a phenomenological experience of the previously desired sound event. Thus, through this phenomenological approach, one can experience sound readily as a real, sound event—not a recreation or representation of a sound metaphor. All of these findings have therefore challenged my own sound-metaphor assumptions. Perhaps the problem is not necessarily the resulting sound from an epistemological sound metaphor, nor of experiencing a phenomenological sound event—but of my own deficient metaphorical assumptions about sound itself.
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Emotion and Meaning in Music. String Quartets by Debussy and Rave The Rite of Spring - Full Score. String Quartet No. Macedonian Mountain Dance. Concert for Piano and Orchestra So Sonatas And Interludes For Prepared Credo in US.
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