The Mechanics of Listening to Electronic Music
Identifieur interne : 000077 ( Istex/Corpus ); précédent : 000076; suivant : 000078The Mechanics of Listening to Electronic Music
Auteurs : David CopeSource :
- Music educators journal [ 0027-4321 ] ; 1977-10.
English descriptors
- Teeft :
- 2see music educators journal, Actual word, Aesthetic approach, Aesthetic decision, Analysis 1recorded, Associate professor, Audible frequencies, Basic steps, Bells mimaroglu, Brilliant student, Broadway music, Cartridge music, Clear knowledge, Complex analysis, Composer work, Composers delib, Composition rain, Computer usage, Concrete information, Concrete sound, Consistent approach, Continuous flow, Credible insight, Credible view, Criteriain mind, Deliberate shocks, Deutsche grammophon, Different classes, Different classroom judgments, Distinct evaluation, Diverse timbres, Dramatic reliefs, Electronic compositions, Electronic generation, Electronic gimmicks, Electronic medium, Electronic music, Electronic music classes, Electronic music program, Electronic noise, Elevator muzak, Entire work, Erately overlay contraststo, Exact opinion, Extreme trancelike, First notes, Force students, Form designs, Form understanding, General flow, Generic program, Good deal, Graphic concept, Graphic view, Great deal, Great importance, Heavy glissando, Heavy modulation, Iconoclastic antienvironment tendencies, Jefferson starship, Listener understanding, Little stereo, Many moods, Mechanical understandings, Melodic line, Miami university, Motion work, Motor rhythms, Music climax, Music forms, Music grammar, Name date, Nonesuch, Noticeable device type, Noticeable regularity, Numerous planes, Older form, Ostinato effect sequencer, Other composers, Other effect, Other hand, Other works, Overall class rating, Overview graphics, Percussive effect, Perfect foundation, Personal bias, Personal comments, Po6me electronique, Primary intent, Proportional view, Quick repetitions, Real understanding, Recognizable coherence, Recognizable style, Record jacket notes, Reverberation modulation, Sequential manner, Short span, Significant shock, Silver apples, Simple keyboard, Sketch paper, Small analog computer, Special effects, Student interest, Such music classes, Synthesizer, Synthesizer mechanics, Tape loops, Tape recorder, Teaching synthesizer operation, Teec, Timbre changes computer, Time lines, Translucent sheets, Unexpected points, Uninitiated student, Usual type, Vladimir ussachevsky, Voltage control, Voltage control synthesizer operation, Weak sections, White sound, Work approaches, Works babbitt.
Url:
DOI: 10.2307/3395333
Links to Exploration step
ISTEX:6CD632521420211FEE17B0A8BF09FE322FA865F6Le document en format XML
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Cope</surname><given-names>David</given-names></name><aff>Composer-in-residence, director of the electronic lab, and associate professor of music at Miami University, Oxford, Ohio.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>10</month><year>1977</year></pub-date><volume>64</volume><issue>2</issue><fpage>47</fpage><lpage>51</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> The Mechanics of Listening to Electronic Music David Cope The focus of most electronic music classes is, appropriately, that of synthesizer mechanics. It is, however, of great importance that the teaching of listener understanding and sensitivity should also have a place in these classes. In the past ten years there has been at least a fourfold increase in student interest in electronic music, but students often come to The author is composer-in-residence, director of the electronic lab, and associate professor of music at Miami University, Oxford, Ohio. such music classes ill-prepared to appreciate the music. Students are usually very familiar with elevator Muzak and media electronic tricks. They can also be programed to the whizzes of “fuzzed” motor rhythms and to the special effects of electronic generation found in Broadway music. The environment in all but the most rural of situations provides a generic program of electronic noise. But students have had few actual musical experiences. All of this “exposure” provides less than a perfect foundation for the creation of any aesthetic in regard to the listening to and understanding of electronic music. While teaching synthesizer operation can and should be the core of any electronic music program, it is vital to also teach the mechanics of how to listen to and understand electronic music and all new music. Some students who are programed to electronic gimmicks are resultantly hostile mej/october 77 47 48 V to large electronic forms not associated with the normal environmental stimuli; they find it difficult to sit through a twenty-minute work of Subotnick or Berio without some visual or “oral” accompaniment. On the other hand, some students are overenthused by the novelties of the electronic medium, often so much so that their credibility is surely in doubt-they see electronic compositions as examples of iconoclastic antienvironment tendencies at work in a creative individual. Steps must be taken to alleviate this situation. First of all, it is critical to teach an aesthetic approach that tolerates personal bias but does not fuse it with understanding, To do this, it is necessary to create a technique of listening that is self-instructive and not directly based on prior aesthetics, an approach wherein a student devoid of any real understanding of music beyond that of the Jefferson Starship can still evaluate a new work, whether he or she likes it or not. And the approach should not be combative with the “feel” or programing but, rather, substantively additive to it in a sequential manner. The approach takes three basic steps in progressively more complex analysis. It is based on three listenings to a given work, each followed by an analysis. The purpose is not to force students to either like or dislike the work involved but to provide them with a mode of understanding, a vehicle for making an aesthetic decision. The first listening The student is asked to evaluate what he feels the composer intended to accomplish in respect to several basic music concepts-direction, climax, mood, drama, and style. These concepts are rated on a scale of five (5- very noticeable; 4-noticeable; 3-moderately apparent; 2-barely noticeable; and 1-absent). It is most important for the student to understand that he is simply evaluating what he feels the composer intended and whether the composer achieved it or not. He is not judging whether he thinks music should or should not have any or all these concepts; the inclusion or absence of any one of them does not in itself indicate quality or the lack of quality in a composition. For example, many mej/october 77 composers do not want “direction” in their music, and if they have successfully accomplished this goal, they should achieve a 1 or 2 on the overall class rating. Other composers diligently strive for direction in music and would score a 5 or 4 if successful. The concepts are defined as follows: Direction is defined as a flow or increase of tension through one or more means inclusive of dynamics, tempo, texture, activity, tessitura, and so on. If the work tends to grow and move toward a goal (achieved or not), the rating would be a 5. Climax is the result of direction; it is a spot or section that is the highest, loudest, or fastest, or sometimes slowest or thickest, that seems to be “IT.” If the work approaches this but does not make it, then 3 would be given as an evaluation; if climax is achieved, 5 would be the rating; 1 if no hint of climax is present. Mood is defined as a noticeable regularity of an idea such that a constant “feel” can be ascertained, whether or not an actual word can be applied to describe it. Some works contain many fast-changing moods, probably registering 3; some moods come so fast that only a 1 can be noted; others follow an extreme trance-like embrace of mood and rate 5. Drama involves suspense, a significant “shock” or turn in the music at unexpected points. This “turn” should be carefully defined so as to be distinguishable from the shock an uninitiated student might receive on hearing the first notes of the work. Some works rely on heavy and quite deliberate shocks or dramatic reliefs, quite distinctly 5s, while others, somber in mood throughout, barely register a 1. Style is defined as a consistent approach to the syntax of music grammar; it is a recognizable coherence. Style here should be separated from “stylish.” The listener should not be concerned with whether or not the composer's style is recognizable and accepted but with whether the work's own language is consistent in and of itself. Some composers delib- erately overlay contrasts to avoid recognizable style (1); others go out of their way to achieve it (5). As an example of listening according to this method, the author's Teec Nos Pos was analyzed by himself and by thirteen different classes at Miami University, Oxford, Ohio. The choice of the author's own work reflects not ego so much as the clear knowledge of what the composer intended and whether the students understood it. Teec Nos Pos1 was created with the following desired criteria in mind: Direction-5; Climax-5; Mood-3 (complex); Drama-2; and Style-4.5. The results of ten different classroom judgments by more than 220 listeners achieved the following pattern: Direction- 4.8; Climax-3.5; Mood-3; Drama-2.5; and Style-4. While the students exactly matched the intended response in only one area, the ratings are amazingly close. The student comes away from the first listening with a distinct evaluation of the work that can be compared to his evaluation of other works and the analyses of his classmates; most important, his analysis Recorded on Folkways FTS 33869. has remained separate from his tastes. He can love, hate, or have no response to the work and still have concrete information to help form later judgments, comparisons, and appreciations. The second listening This performance of the work is a much more subjective listening experience that begins to internalize the work in the student's mind. The student is asked to sketch in his own manner a visual or graphic view of the work. This proportional (time-space) view on sketch paper can, if treated seriously, give the student, his classmates, and the teacher a viable and credible insight into his understanding or the lack of it. It is usually best to outfit the listener with a brief suggested guide to the graphic concept. Some hints in this direction are given in Figure 1. If the sketch is done on translucent sheets with time lines defined, a great deal can be accomplished by overlaying graphic form designs. But whether this is attempted or not, the student has at his disposal a credible view of the entire work that he can sit back and view in its entirety, picking out successful, liked or disliked, or even terribly weak sections. While Teec Nos Pos received a variety melodic line: pointillism: counterpoint: dynamics: texture: •• • Figure 1 mej/october 77 LISTENING REPORT #3 NAME DATE A. COMPOSER WORK B. 1. Electronic? Concrete? Both?_ 2. Classical? Live? Both? 3. Panning? Channeled? Both?_ C. 1. Glissando 2. White sound_ 3. Tape loops__ 4. Sequencer___ 5. Reverberation-echo_ 6. Modulation_________ 7. Computer___________ 8. Other D. Personal Comments: (Is the piece an effective one? Why? Why not?) Please be brief, to the point, and explicit about what you've heard. Figure 3 of overview graphics, the general flow is shown in Figure 2. After two listenings the student has a view of the given work on numerous planes: form, direction, climax, mood, drama, and style, with a real “feel” for the movement and tension/relaxation component of the work. The third listening This listening is based on a few mechanical understandings of electronic music both in terminology and function. Its primary intent, however, is to give the student a practical “orchestration” understanding that is essential in order to analyze the work's effectiveness. mej/october 77 The form used to evaluate the third listening is given in Figure 3. Although terms have been defined elsewhere,2 a brief set of definitions of terms used in Figure 3 is provided for the sake of completeness in Figure 4. What is really being asked for on the form (Figure 3) is an evaluation of the work in terms of its effectiveness. The student can, however, also give his exact opinion of the 2SeeMusic Educators Journal, Vol. 55, No. 3 (November 1968). work. A brilliant student, quite won over to new music in a short two-week span, gave this evaluation of Kenneth Gaburo's The Wasting of Lucretia: “I gave 5s on all but drama on listening 1; a very complete and easily graphed form; a detailed and now very clear mechanical analysis of the work; and now feel qualified to say that it stinks (to me).”3 Of Teec Nos Pos, the answers were as follows in almost every case: electronic; classical; channeled; with heavy glissando, some white sound, no loops, a bit of sequencer, a good deal of reverberation, heavy modulation, and no computer usage. As a result of this approach, students should have (1) an ability to deduce a great deal of information about a new work on only a few hearings; (2) an ability to compare information from one new work to the next, along with growing capabilities to form understanding and judgments; (3) an ability to absorb new types of music, with a base on which to evaluate them (students seem to memorize the format quite easily with only the form of Figure 3 being needed at hand); (4) a growing base of information for the student from which to draw possible creative insights for composition; (5) a decrease in prejudice against new music forms and ideas with a growing understanding of even the most radical of concepts. 3As a boost to Ken Gaburo's ego, it should be added that this student was quite in the minority. Fifteen Suggested Works Babbitt, Milton. Ensembles for Synthesizer (Columbia, MS-7051). Berio, Luciano. Visage (Turnabout 34046). Cage, John. Cartridge Music (Mainstream 5015). Cope, David. Arena (Orion, ORS-75169). Davidovsky, Mario. Synchronisms #1 (CRI, S- 204). Erb, Donald. Reconnaissance (Nonesuch, H- 71223). Gaburo, Kenneth. The Wasting of Lucretia (Nonesuch, H-71199). Luening, Otto, and Vladimir Ussachevsky. A Poem in Cycles and Bells (CRI-12). Mimaroglu, Ilhan. Agony (Turnabout 34046). Stockhausen, Karlheinz. Gesang der JungJinge (Deutsche Grammophon 138811 SLPM). Subotnick, Morton. Silver Apples of the Moon (Nonesuch, H-71174). Ussachevsky, Vladimir. Of Wood and Brass (CRI, S-227). Varese, Edgard. Poeme electronique (Columbia, MS-6146). Wilson, Galen. Applications (Capra, CRS- 1201). Xenakis, Iannis. Concret P-H II (Nonesuch 71246). </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Mechanics of Listening to Electronic Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Mechanics of Listening to Electronic Music</title></titleInfo><name type="personal"><namePart type="given">David</namePart><namePart type="family">Cope</namePart><affiliation>Composer-in-residence, director of the electronic lab, and associate professor of music at Miami University, Oxford, Ohio.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1977-10</dateIssued><copyrightDate encoding="w3cdtf">1977</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1977</date><detail type="volume"><caption>vol.</caption><number>64</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>47</start><end>51</end></extent></part></relatedItem><identifier type="istex">6CD632521420211FEE17B0A8BF09FE322FA865F6</identifier><identifier type="ark">ark:/67375/M70-V2XBHPBL-S</identifier><identifier type="DOI">10.2307/3395333</identifier><identifier type="ArticleID">10.2307_3395333</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/6CD632521420211FEE17B0A8BF09FE322FA865F6/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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