Compositional Language(s) Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture IV
Announcements Assignment I submission!!! Next week = 추석 ! Questions? ( 질 문 ?) Course Website: tm tm
Assignment II Due 학요일, 09 October (in 2 주 !) On Harmony: weeks 3 and 4 To be posted to website later today!
0. Review: Typical Musical Parameters Pitch ( 고 저 ) Rhythm (Pulse/Meter) Melody Harmony ( 학 성 ) Dynamic Register Timbre ( 음 색 ) Texture ( 결 ) Orchestration
I. Last Week Class Review Any questions? OK on common practice harmony?
Last Week: Main topics Pythagoras, Plato, Boethius and the “harmony of the spheres” Defining tonality: syntax and function categories (tonic, dominant, pre-dominant) Harmonic Analysis Non-Chord Tones (NCT)
Tonal Analysis Review 1) Inversions and seventh chords 2) Triad and Seventh Chord Qualities (major, minor, augmented, diminished) 3) Cadences (PAC/IAC/HC/DC) 4) Tonicisation vs. Modulation
Non-Chord Tone (NCT) Review 1) Passing tone (PT) 2) Upper neighbour (UN)/Lower Neighbour (LN) 3) Suspension (SUS) 4) Retardation (RET) 5) Appoggiatura (App) 6) Echappée (ET) 7) Anticipation (Ant)
[Examples]
II. Harmony in the Early 20 th Century Suspended Dominants (Debussy and Ravel) Emancipation of the Dissonance (Schönberg) Polytonality (Stravinsky) Clusters (Cowell)
A. Post-Tonal Tendencies I: The Tristan Chord (Tristan und Isolde, 1865)
(Tristan Chord)
B. Debussy: “Long and Tall” V Chords
“Scalar Collections” V ….
C. Schönberg: The Emancipation of the Dissonance “dissonances are the more remote consonances of the overtone series… ”
Emancipation of the dissonance Emancipation (Emanzipation/Befreiung) = 해 방 Dissonance = 불협화음
What is “emancipated?”
Ex) Schönberg, Op. 19 No.4 (1911) Atonal Emphasis on seventh chords BA6I BA6I
Ex) Webern, Variations op. 27, mvt. 1 (1936) Serial (12-tone) pitch organisation M7 emphasis Each pitch = placed in 1 register ( = pitch class and pitch height fixed!) 5yKA 5yKA
D. Polytonality Polytonality = many keys at once Bitonality = 2 keys at once Poly = many ( 많 은 ) Bi = 2 Found in Stravinsky, Milhaud, Honegger, Bartok, Ives
Stravinsky Examples 1. Pétrouchka, “Chez Pétrouchka” 6dI 6dI 2. Le sacre du printemps Rbo (from 3:00) Rbo
E. Henry Cowell ( ) : New Musical Resources (1930)
Cowell’s Tone Clusters
Ex) Cowell, The Tides of Manaunaun (1917) U9Y U9Y Also found in Charles Ives, Carl Ruggles, and many later composers
F. Quartal and Quintal Harmony Preference for 4ths and 5ths over 3rds Ex) Hindemith and Aaron Copland
II. Harmony in the Later 20 th Century
A. Olivier Messiaen ( ) “modes of limited transposition” Pitches fixed in register Chords as motives Bird song transcription Chords also associated with colours, stones, and the harmonics of church bells ( 카 리 용 ) Ex) qtg qtg
B. Gérard Grisey ( ) Spectralism (or spectral music) Harmonic analysis of acoustic instruments Application of analysis to harmony, rhythm, form, and orchestration Harmonic series as “mode of limited transposition”
Example: Grisey, Partiels (1975) Analysis of trombone harmonic series on E2….
Partiels …”orchestrated” for 18 instruments: wrDI s wrDI
[Overtone Series Extremes…]