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The Process of Modulation in Musical Collage

Identifieur interne : 000080 ( Main/Exploration ); précédent : 000079; suivant : 000081

The Process of Modulation in Musical Collage

Auteurs : Catherine Losada

Source :

RBID : ISTEX:212C95934AD562493492774F818E6DE576E36C03

English descriptors

Abstract

By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate new modes of continuity which lend a distinctive expressive force to music of this kind. The present article outlines organisational precepts which composers including Luciano Berio, George Rochberg and Bernd Alois Zimmermann have used to achieve a degree of syntactic mediation: overlap, chromatic insertion and rhythmic plasticity. The common occurrence of these principles in works exhibiting widely divergent stylistic predispositions indicates that they may constitute important technical aspects of this particular repertoire.

Url:
DOI: 10.1111/j.1468-2249.2009.00285.x


Affiliations:


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Le document en format XML

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<term>Berlioz</term>
<term>Berlioz symphonie fantastique excerpt</term>
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<term>Bernd alois</term>
<term>Bernd alois zimmermann</term>
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<term>Blackwell publishing</term>
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<term>Charles ives</term>
<term>Chromatic</term>
<term>Chromatic insertion</term>
<term>Chromatic layers</term>
<term>Chromatic line</term>
<term>Chromatic lines</term>
<term>Chromatic scales</term>
<term>Chromatic trichord</term>
<term>Chromatic washes</term>
<term>Chromaticised version</term>
<term>Chronological organisation</term>
<term>Clear illustration</term>
<term>Climactic chords</term>
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<term>Collage repertoire</term>
<term>Collage works</term>
<term>Commentary techniques</term>
<term>Complete control</term>
<term>Convergence</term>
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<term>Different sections</term>
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<term>Disparate elements</term>
<term>Disparate quotations</term>
<term>Divertimento</term>
<term>Electronic music</term>
<term>European american music distributors</term>
<term>Excerpt</term>
<term>Fantastique</term>
<term>Formal structure</term>
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<term>Fragmentary quotations</term>
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<term>George rochberg</term>
<term>Grove dictionary</term>
<term>High point</term>
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<term>John tyrell</term>
<term>Journal compilation</term>
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<term>Mahlerian model</term>
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<term>Rehearsal number</term>
<term>Rehearsal numbers</term>
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<term>Rudolf stefan</term>
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<term>Same time</term>
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<term>Scherzo material</term>
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<term>Universal edition</term>
<term>Unrelated quotations</term>
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<term>Visual arts</term>
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<div type="abstract" xml:lang="en">By exploiting the multivalent implications attendant on principles of quotation, disjunction and juxtaposition, musical collage works of the 1960s, like their analogues in the visual arts and literature, call into question traditional notions of unity. However, these compositions also incorporate new modes of continuity which lend a distinctive expressive force to music of this kind. The present article outlines organisational precepts which composers including Luciano Berio, George Rochberg and Bernd Alois Zimmermann have used to achieve a degree of syntactic mediation: overlap, chromatic insertion and rhythmic plasticity. The common occurrence of these principles in works exhibiting widely divergent stylistic predispositions indicates that they may constitute important technical aspects of this particular repertoire.</div>
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