Tubular bell note c sample5/24/2023 ![]() Motive #3 (which Schwantner calls the "bell chord"), is a subset of B Say that these motives are from the B aeolian scale (or in one case, B dorian). Since B is the pitch-class center when these motives are introduced, we might Numbers 2, 5, and 7 represent the diatonic set-class (SC) 7-35. ![]() These motives are derived from one another, or at least share someĬharacteristics of other motives. It is constructed primarily from nine motivic The mountains is scored for wind ensemble with a few unusual doublings and an expanded Instead derived from the structure of the musical materials themselves. "tonal" areas do not invoke the rules of tonal syntax the syntax is References to tonality include the selection of musical materials from theĭiatonic scale and the emphasis on a specific pitch-class (pc). Out of the music's progress transformed by the context in which they appear, Like dreams, these references float in and Obvious features of a style, so that the listener forms associations. Schwantner's compositions are allusions to particular styles, not true TheĬharacteristic amplitude envelope of the ringing sound is used as a formalĭevice in fact many of his compositions, such as the two discussed presently, Tubular bells, piano, harp, glass crystals, tam-tams, and wind chimes. Seen immediately in his choice of instruments, such as crotales, vibraphone, In the areas of timbre and texture that we find many of Schwantner's most distinctiveįondness for sounds which "hang in the air" (as he has described it) This will be illustrated through selected ![]() Structure and harmonic structure from the primary motives. References a distinctly contemporary sound.Īpplied to both diatonic and non-diatonic materials include the transpositionĪnd invariance of basic sets, combinatoriality, and the derivation of formal The reflection of surface events at other structural levels of theĪlso unified by his distinctive use of timbre, which gives older stylistic Another is the use of motivic parallelism, or Serial procedures in both the tonal and nontonal areas. Period exhibit stylistic pluralism, there are several factors which guarantee Two other works from this period: and the mountains rising nowhere (1977), The following discussion will concentrate on References to renaissance, baroque, romantic, and contemporary styles. Point in this direction, moving from a concentration on serial procedures to The works from 1977 to 1979 represent a turning Allude to a multiplicity of musical styles, both past and present.
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