contemporary composition seminar fall 2012
DESCRIPTION
Contemporary Composition Seminar Fall 2012. Instructor: Prof. SIGMAN Thursday 14:00-16:00 Lecture II. 0. Assignments. Submission? [3 favourite pieces, `1900-1950]. Stockhausen: Points/Groups/Moments. 0. Messiaen ’ s Influence. Mode de valeurs et d ’ intensités (1949-50). - PowerPoint PPT PresentationTRANSCRIPT
Contemporary Composition SeminarFall 2012
Instructor: Prof. SIGMANThursday 14:00-16:00
Lecture II
0. Assignments
• Submission?• [3 favourite pieces, `1900-1950]
Stockhausen: Points/Groups/Moments
0. Messiaen’s Influence
Mode de valeurs et d’intensités (1949-50)
Pitch, rhythmic, dynamic, and articulation organisation: •3 pitch modes (not series!), fixed in register and overlapping•3 overlapping additive rhythmic series•12 attacks•7 dynamics (ppp-fff) •Full range of piano used •Parallel, disjunct layers (leaps)
I. Kreuzspiel (1951)
• First post-student piece by Stockhausen• For oboe, bass clarinet, piano, and 3
percussion
Kreuzspiel: Pitch and Rhythmic Organisation
• 1 pitch series• Multiple additive rhythmic series
Kreuzspiel: Form and Process
• Title: literally, “cross-play” • Introduction (mm. 1- 13): statement of series in
trichords; redistribution across 7 octaves• Phase I: (mm. 14-91): extreme registers-> equal
distribution -> extreme registers• Phase II (mm. 92-140): middle register -> equal
distribution -> middle register• Phase III (mm. 141-end): Phase I and Phase II
processes, juxtaposed
Kreuzspiel: Sign-Posts
• 1) Changes in tempo• 2) Changes in percussion (toms/tumba
impulses to cymbals) = decreasing importance of durational series; noise dislocated from piano to percussion
• 3) percussion attacks on each pitched in new register
Related Piece: Boulez, Polyphonie X (1950-51) for 18 soloists
Polyphonie X Parallels
• Overlapping, disjunct pitch series • Controlled by independent rhythmic series• Klangfarbenmelodie• Vertical and horizontal density control
II. The WDR and Information Theory
A. Werner Meyer-Eppler (1913-1960)
Meyer-Eppler and Information Theory
• Phonetician, physicist, acoustician • Inventor of electronic instruments• Stockhausen, König, and Eimert attended his
classes • Influential articles:• 1) “Statistic and Psychological Problems of
Sound” • 2) “Musical Communication as a Problem of
Information Theory”
Information Theory Principles
• 1. Noise-Tone Continuum: statistical properties of sound should be embraced, not avoided in music (e.g., via filtered noise)
• 2. Information Entropy: behaviour of local events in a larger, closed system; sound-events do not exist in isolation!
• 3. Markov-Chain Models: predictive, weighted models at all levels of scale
Markov Chain Example
Information Theory Applications
• Voice synthesis• Electronic music • Speech perception• Digital Signal Processing (DSP) • Computer Science
B. Stockhausen, Elektronische Studie II (1954)
• Introduction of noise/impurities to sound material
• Amplitude and frequency controlled via global envelopes/shapes, rather than individually
• = statistical approach to structuring sound• Noise-tone scale• Amplitude scale• Rhythmic density scale
Voice Synthesis in Studie II
1) source-filter model2) study of transients (noise components) in
speech 3) Speech resemblance gradient
Studie II Score Example
C. Gruppen (1955-57)
• For 3 orchestras (3 conductors) •
Meyer-Eppler Influence
• Noise-tone continuum: orchestra divided into: 1) sound-groups (winds, strings, brass); 2) noise-groups (percussion); 3) transitional groups (piano, celeste, bells)
• “Formants”: divisive, NOT additive rhythm • Contours/Shapes: applied to pitch/rhythmic
events, and position in space • Material organised into groups/events, NOT as
points!
4 Types of Envelopes
• 1) acceleration -> upper formants-> slow pulsation (ex) reh. 1 + 2, orch. 1)
• 2) statistical, dense attack -> periodic reverberation (ex) reh. 113-115, orch. 2)
• 3) swell/accumulation/crescendo -> fusion across orchestras (ex) 117-119)
• 4) periodic or aperiodic iterative internal structure (like a drum-roll)
Extension of Serialism
Control Parameters
• Proportions (section durations) • Position in space • Pitch –events• Rhythmic density (formants)
III. Kontakte: From Groups to Moments
A. Kontakte (1958-60)
• For 4-channel electronics and (optional) piano and percussion
• Percussion: point of “contact” between abstract (electronic) and familiar (instrumental) sound
• Realised at Westdeutcher Rundfunk (West German Radio) Cologne
Experiment
• Listen to these 2 sections, played in 2 different orders. Which section is longer?
Moment-Form
• Higher-level, coherent, and unchangeable structured units
• Diverse durations (from ca. 10 seconds to 2+ minutes)
• Order of moments may be shifted/permuted (as for a pitch series) in a piece
• Kontakte, Mikrophonie I, Carré, Momente
Control Parameters
• Continuum: Pulse-> Rhythm-> Pitch (pulse-train synthesis
• 7-octave scale• Duration scale • Structural proportion scale• Amplitude envelopes• Position in space • “it’s about ‘6’” • “it’s about pitch”
Equipment
• Potentiometers• Band-pass filters• Reverberator• Pulse/square-wave generators• Sine-tone generators• Tape recorders (for looping and delay) • Ring modulator• Rotation table (for spatialisation)
Score Excerpt
IV. Gottfried Michael König (b. 1926)
A. König vs. Stockhausen
• Colleagues @ WDR Köln studio in the 1950s• Compared to Stockhausen, König took a more
“purist” approach to the use of electronics• Compositional process and techniques generally
more important for König than musical surface• Radical and rigorous approach to analog
technology • Continued to use studio several years longer than
Stockhausen
B. Terminus I (1962)
• One of 2 final pieces realised in WDR studio by König
• Source material: bank of sine waves • Applies serial principles to electronics
derivation chain • “family tree” structure • Order of events in piece does not reflect order
of their production
For Next Week:
• Listen to Gruppen with the score• I will post the score and recording to:
www.lxsigman.com/courses/cmsfall2012/index.htm