Heteroglossia: Novella For Orchestra

Transcription

1 Western University Electronic Thesis and Dissertation eository August 201 Heteroglossia: Novella or Orchestra Andrze Tereszkoski The University o Western Ontario Suervisor Dr eter aul Koroski The University o Western Ontario Graduate rogram in Music A thesis submitted in artial ulillment o the requirements or the degree in Doctor o hilosohy Andrze Tereszkoski 201 ollo this and additional orks at: htts://irlibuoca/etd art o the Comosition Commons ecommended Citation Tereszkoski, Andrze, "Heteroglossia: Novella or Orchestra" (201) Electronic Thesis and Dissertation eository 017 htts://irlibuoca/etd/017 This Dissertation/Thesis is brought to you or ree and oen access by Scholarshi@Western It has been acceted or inclusion in Electronic Thesis and Dissertation eository by an authorized administrator o Scholarshi@Western or more inormation, lease contact tadam@uoca, lsadmin@uoca

2 HETEOGLOSSIA: NOVELLA O OCHESTA (Thesis ormat: Monograh) by Andrze anusz Tereszkoski Graduate rogram in Music (Comosition) A thesis submitted in artial ulillment o the requirements or the degree o Doctor o hilosohy The School o Graduate and ostdoctoral Studies The University o Western Ontario London, Ontario, Canada Andrze anusz Tereszkoski 201

3 Abstract Heteroglossia (Novella or Orchestra) exlores a non-rogrammatic musical narrative hich seeks to uxtaose Sectral, late-omantic, and 12-tone aesthetics The ork is structured into seven distinct chaters hich utilize ibonacci numbers and tilings o the golden roortion to create the roortions o the ork The underlying concetual oundations (and title) o the ork are intrinsically related to the concets o dialogism, olyhony (in the novel), and heteroglossia ound ithin the literary theories o Mikhail Bakhtin The ork is also heavily inuenced by theories o narratology and semiotics ound in the ritings o ean-acques Nattiez and ean Molino The discussion document outlines ho these concets are alied in the music, hile also roviding a summation o the history, aesthetics, and techniques o Sectral comosition and outlining the use o late-omantic triadic transormations, microtonal variance based uon the harmonic series, as ell as reerential assages ound ithin the ork Keyords Music, Comosition, Bakhtin, Dialogism, olyhony in the Novel, Heteroglossia, Narratology, Semiotics, Sectral, late-omantic, 12-tone, ibonacci, Golden Mean ii

4 Acknoledgments irst and oremost I ould like to thank my ie, Carolyn Marie Tereszkoski, or her unavering suort throughout my graduate studies; I could not have gotten this ar ithout her I ould also like to acknoledge the suort o my arents, Walter and Bozena Tereszkoski, ho are alays there in times o need, and hose encouragement has heled to drive me in the ursuit o my dreams I ould like to thank my advisor, Dr eter aul Koroski, or guiding me throughout the years, or alloing me to exlore my musical language ithout restrictions, and or roviding roound insights into the crat o comosition I am so grateul or your encouragement, insight, and suort on both ersonal and academic levels and look orard to our continuing relationshi or many years to come I extend my thanks to Dr aul rehner, my second reader, or his incredibly detailed notes hich heled in the rearation o my score and aer I ould also like to acknoledge Dr Omar Daniel and Dr Catherine Nolan or guiding me in their roles on my advisory committee; and additionally, or roviding ascinating courses hich inormed my comositional outut To Dr David Myska and roessor Kim Lundberg, I thank you or your guidance in the studies o Orchestration undertaken during my graduate studies To Dr ohn Cuciurean, thank you or your suort and or instilling ithin me the level o rigour necessary to comlete my dissertation Lastly, I ould like to thank Alain Trudel and Dr aul ulord, as ell as the students in the UWO and WLU orchestras or roviding readings o my dissertation, transorming the notes on the age into real music desite the inherent challenges the ork resents iii

5 Table o Contents Abstract ii Acknoledgments iii Table o Contents iv 1 art 1: The Score 1 2 art 2: Heteroglossia (Novella or Orchestra): uxtaosing Sectral, Late-omantic, and 12-tone Aesthetics to orm a Musical Narrative 0 21 Chater 1, I Introduction 0 22 Chater 1, II Use o the ibonacci Series and the Golden roortion 1 Chater 2: I Sectral Music; II Microtonal Variance; III Late-omantic Triadic Transormations 1 Chater 2, I Sectral Music 11 The Sectral Aesthetic 12 History o Sectral Music 7 1 Sectral Techniques 72 2 Chater 2, II The Harmonic Series and Microtonal Variance in Heteroglossia 78 Chater 2, III Late-omantic Triadic Transormations 8 Chater : Concets in the Writings o Bakhtin 92 1 Chater, I Dialogism 92 2 Chater, II olyhony in the novel 9 Chater, III Heteroglossia 97 Chater : eerential assages in Heteroglossia 101 Chater : I Narratology and Semiotics; II Conclusion Chater, I Narratology and Semiotics Chater II: Conclusion 119 iv

6 Bibliograhy 121 Aendix 129 Curriculum Vitae 11 v

7 Heteroglossia novella or orchestra Andrze Tereszkoski 201/1 Ca 1' 0"

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9 erormance Notes Ca 1' 0" Transosing Score Glissandi are to be erormed or the entire duration o the note Heteroglossia makes use o microtones to tune the artials o the harmonic series o various undamentals The olloing chart illustrates the accidentals used throughout the comosition to aroximate the artials: A semitone equals 100 cents, a 1/ tone equals 0 cents, a 1/ tones equal 0 cents, etc When these microtones are used, the erormer can adust their tuning to aroximate the artials o the harmonic series, this is achieved through alternate ingerings, embouchure tuning, laying artials as harmonics, and tuning the artials on the strings Strings ST S ES N (String Name/artial) Sul Tasto Sul onticello Estremamente Sul onticello: as close to the bridge as ossible Normal, return to normal boing When natural harmonics are utilized, the string name and artial are rovided Ex (C/11) indicates the 11th artial on the C String

10 Transosing Score Adagio Sonore, ca q = 0 - lauto I Heteroglossia novella or orchestra Andrze Tereszkoski 201/1 7 8 lauto II Oboe Corno Inglese Bb Clarinetto I Bb Clarinetto II agotto I Contraagotto Corno IIII Corno IIIV Bb Tromba I Bb Tromba II Trombone I Trombone II Trombone Basse Tuba I (2") C II (28") Timani III (2") E IV (2") Eb ercussione Ara iano " " " Tam-Tam ã Bass Drum ç ç + n + n d d n 2 Gliss d n n + " + n d n " " + n d + n n d n " + " n + n d ç ç " " " 7 " + + n d 8 n n Adagio Sonore, ca q = 0 - Violini I Violini II Violini III Violini IV Viole I Viole II Sul IV S b o " (C/7) Sul IV S (C/) o " ES b o o ES N " N " Violoncelli I Violoncelli II Contrabassi I Contrabassi II ES ç Sul IV (E/) S o o ST ES o S o S Sul II (D/7) " o N o " (C/9) o " ST (C/11) Sul IV S o Sul IV S ES o ES o o ES ES Andrze Tereszkoski 201

11 Heteroglossia l I 9 10 l II Ob CI Bb Cl I Bb Cl II g C Cor IIII 9 10 Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara ã d n " + n d n " " + + n d n " + n d n b b Ù b b 9 10 no ç Vln I 9 10 Vln II Vln III Vln IV ES ES n Vle I Vle II b o " S o ȯ S Vc I Vc II Cb I Cb II N " N o " S o Sul II S o S o

12 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba + + n d " n " Tim erc ã Ara bb b b b dim bb b no ç ç Vln I Vln II Vln III Vln IV 11 ES n n n n ES 12 n n n n n n n n Vle I ES o Vle II o ES N " Vc I Vc II o o ES o ES N " N b o " ES Cb I Cb II o ST ES o S N

13 Heteroglossia 7 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I lay as harmonics (ie ith the same ingering, G undamental) 1 n Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara no ã ç 1 ç 1 ç ç 1 ç 1 ç Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 1 b b b n b n b n n b 1 b n b n b b n n b n n n b b b b n b n n b n b b n b n b n n b n n b b n b n b b b b n b n S o N n b b n n b b n b b b b n b ST o 1 b n b n b n b n n b b b n b n b n n b n b b n n b b b n b n b o o " o ES Sul IV S o ES ḟ Sul IV S " Sul IV S " 1 n n n n n n n n b o o N ȯ Sul IV S " ȯ ES o o ES ES ES

14 8 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I 17 n 18 " Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara no ã 17 ç 18 ç ç 19 ç ç 20 ç 21 ç 22 ç Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 17 n n n 18 n n 19 n n n n n n n n N o " n N ȯ o ES o o Sul b S o IV " N " o N " S S o S o o N ES o ES o o o ST S 20 o ST ES b o o N " N ES b o " o ES 21 N " N " S o N S b o 22 Sul IV S b o S o N o ES o ES b o

15 Heteroglossia 9 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b 2 b 2 b b bn 9 b nb n n nn 7 b n n b b 7 2 Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã cuivre cuivre cuivre cuivre Ara no Vln I Vln II Vln III Vln IV Vle I Vle II 2 N 2 > > > > (accents on irst thirty N second note only) b > > > > (accents on irst thirty N second note only) b> > > > ES (accents on irst thirty second note only) N ES > b > b > > > > > > N (accents on irst thirty second note only) > > > > > > N " 2 > > b > > > > > > > > > > r > 2 > > > > > > > > > > > > > > > r > > > > > > > > Vc I Vc II Cb I Cb II " N ES b o " " N " N ST ES ç ç ç

16 l I l II Ob CI Bb Cl I Bb Cl II g 10 Heteroglossia Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~ Ÿ~~~~~ r Ÿ~~~~~~~ Ÿ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~~~~~~~~ r C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara 27 ã 27 lay as harmonics (ie ith the same ingering, C undamental) lay as harmonics (ie ith the same ingering, C undamental) lay as harmonics (ie ith the same ingering, 2+) lay as harmonics (ie ith the same ingering, 2+) no Vln I 27 > > > > > > > > > Vln III > > > > > Vln > > Vle I Vle II Vc I Vc II > > > > > > > > > > > > > > > @ r B > B > Cb I Cb II ç ç ç ç ç N N

17 Heteroglossia 11 l I l II 2 ~~~~~~~~~ Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara no 2 = + = = + = + ã Gliss Gliss Gliss Gliss + Gliss + = = + = + Gliss Gliss Gliss 2 Ï Ï Ï Gliss = Gliss + = = + = + Gliss Gliss Gliss Gliss Gliss Vln I 2 Vln II Vln III Vln IV Vle I B Vle II B Vc I Vc II Cb I Cb II

18 12 Heteroglossia l I 7 l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc + + = = + = + ã Gliss Ord Ord = Gliss Gliss + = = + = + Gliss Gliss Gliss Gliss 7 Ara no Ï 7 Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II B B 7 > > > > > > > > > " > > > > > > > > " > > > > > > > > > > > > > > > > > > > > > " " " "

19 Heteroglossia 1 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II Sul III (D/) r O O B B O r O tremolo tremolo tremolo tremolo izz izz

20 1 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g 2 rull rull n b b rull rull n b b b n C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn 2 rull rull b b n b Tuba Tim III E - Bb b erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 2 O O B B O O O O (D/) (G/) Sul IV O Ȯ O Ȯ O O O arco arco O O (E/2) Sul I (G/) b b b Sul IV b b O r O Ȯ b b O b b O b b b izz b b izz b 7 O Ȯ r O Ȯ b b O b b O b b b b b b 8 bȯ bbo Ȯ Ȯ \ Sul III (G/) Sul III (G/) \ b b b b b b 9 b bo Ȯ b b Ȯ b b b b O Ȯ bo b b b b b O Ȯ O Ȯ Ȯ

21 Heteroglossia 1 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b b b n n b b b b n b b n Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim b b II - Gn erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I 0 r b b b r b b B b b b b b b b b b B b b b b 1 b b b b b b b b b b b b b b b b b 2 r b b b b b b b b b b b b b b b b b b b b b b b b b b r b r b b b b r b b b b r b b b b r b b b b b b b b r b b Cb II b b b b b b

22 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I 1 Heteroglossia b b b b b b b b b b b b b n b b 7 b b b n n b 7 b b b n b b n 8 n 8 b b b b b b b b b b b b n b b n b b b b n b b b b b b b b 9 9 Moderato {q = c 108} 2 G 1 tr2 D C {b Th 1 G 1 2 tr b b 1 n b Bb Tr II n Tbn I b Tbn II b B Tbn Tuba Tim erc Ara no Vln I Vln II Vln III Vln IV Vle I ã r b B r r r b b b b b b 7 b b b b b 7 b r b b b b b b b r b b b b b b b r b b b b r b 8 b b b b 8 r b b b b b r b ( -1cents) b b b b n b b r b ( -1cents) (Eb -27cents) b b b b b { b { b b b r b b b b ( -1cents) (Eb -27cents) { b { b b b Moderato {q = c 108} 0 b b b b b b 1 b b 1 b b b b b b (Db -1cents) (Db -1cents) Vle II B Vc I b b b Vc II Cb I Cb II b b arco b arco b b b b b

23 Heteroglossia 17 l I 2 " { b 2 G 1 tr2 D C l II Ob CI Bb Cl I Bb Cl II " " " Th 1 G 1 2 tr g C Cor IIII Cor IIIV Bb Tr I 2 b b n b b b b b 70 n b Bb Tr II 1 Tbn I 1 Tbn II 1 B Tbn Tuba Tim erc Ara ã bb b b b b b b b b b b b b b 2 b b b b b bb bb no 1 Vln I Vln II Vln III Vln IV Vle I 2 b { b b B b b (Cb -27cents) (Cb -27cents) b b n b { b { b { b { b b b { b {b ( -1cents) ( -1cents) ( -1cents) (Eb -27cents) (Eb -27cents) b b b b b b b b { b b b b { b b b (Db -1cents) (Db -1cents) (Db -1cents) (Eb -27cents) (Eb -27cents) (B -1 \ \ cents) \ (B -1 cents) 70 (B -1 cents) b \ \ b b b (G -1 cents) (G -1 cents) b (G -1 cents) \ Vle II B 1 Vc I 1 Vc II 1 Cb I Cb II b b 1 1 b b

24 18 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I 71 b b 71 n b n b b 7 n b 7 " " b " b 7 N " " " " " Th 1 \ (G) 80 Th 1 G (G) 18 (G) 8 (G) 11 (G) 12 (G) 2 (G) 1 (G) C Bb Tr II 2 Tbn I 2 Tbn II B Tbn Tuba Tim b b b b b erc ã 2 2 > > > > > > > > > > > > Ara no 2 Vln I Vln II Vln III Vln IV Vle I 71 b \ \ b b b B b \ Vle II B 2 Vc I 2 Vc II 2 Cb I b b b Gliss 2 Cb II b b b Gliss 2

25 Heteroglossia 19 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII (C) Th C (C) 18 (C) 1 (C) 1 (C) ; 11 (C) b b b b 9 Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã > > > > > > > > > > > > > > > > > > > > > > > > b b b b b To Glock b b b b Ara no Vln I Vln II Vln III Vln IV Vle I Vle II 8 B B b D d b bd d b bd d b bd d b bd d 9 D D D bd d b D 9 d b d 9 Vc I Vc II Cb I Cb II Gliss Gliss b b bd bd b b

26 ã B B l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II Ara no n b II G - A \ b (C -1 cents) \ b \ b 20 Heteroglossia

27 Heteroglossia 21 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII (G) \ Th 1 C 107 b 19 (G) 12 (G) 8 (G) Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim II A - - erc ã Glockensiel ã To Bass Drum Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 10\ B B b \ 10 b ( -1cents) (Eb +1 cents) \ d (Eb +1 cents) \ d d d (C -9 cents)

28 22 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Ara no Vln I Vln II Vln III Vln IV 112 ( -1cents) d 11 d 11 ( + 1cents) k (D -9 cents) (G -1cents) ( + 1cents) d k Vle I B Vle II B Vc I Vc II Cb I Cb II

29 Heteroglossia 2 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Meno Mosso, ca q = rull rull II - A n n n n 122 b n b b b b 12 n b b 12 b 12 b n n Adagio Sonore, ca q = n b b n N b n n n n Ara no Vln I Vln II Vln III Vln IV Vle I (G -1cents) 117 k + B Meno Mosso, ca q = Adagio Sonore, ca q = 0 - tremolo b n tremolo b n tremolo b tremolo b 12 Vle II B Vc I Vc II Cb I Cb II b n

30 2 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim n b b b b n n b b b b b b 17 2 b b b b 2 b b b b 2 b b b n 2 b b n b n n b n n b n n b n n b n n sub 2 b b 2 n n b b n b b n b b n b b n b b sub b b b b b b b b b b b b b b b b 2 b sub b b b b b b b b b b b b b b b b b 2 b sub 11 Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ r 2 r 2 1 b Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 2 Ÿ~~~~~~~~~~~~~~~~~~~~~~ rÿ~~ Ÿ~~ b 2 b b b 2 1 b 1 17 n 2 b n b b b n r b 2 Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~ 2 b b n b 2 b n b b r n b r n b n n b b r b n b r b 2 n b n n b b b b b b b b b b b b b b b b b b 2 b sub b b b b b b b b b b b b b sub b b b 2 b b b b b b b b b b b b b b b b b 2 b sub b b b b b b b b b b b b b b b b sub b 2 b b b b b b I C - D - II A - Ab b b b b 19 b b b b b b b b b b b b b b b b b b b b b b b b n n erc ã 2 2 Ara no 2 Vln I 10 b b Vln II b b 2 Vln III b b 2 Vln IV b b 2 Vle I B 2 Vle II B 2 Vc I 2 Vc II 2 Cb I b 2 Cb II b b 2

31 Heteroglossia 2 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub sub ã b b b b b b b b b n b n b b b b b b b n b b n b b b b b b b b b b b b b b b n n b b b b b b b n 1 b 1 b b n b n I D - C - b b n b n b n Ara no Vln I Vln II Vln III Vln IV Vle I Vle II 11 B B 12 r b b b b b b r b b b b b b r b b b b b r b b b b b b b 1 r r r r 1 r b r b b b b b r b b b b r b b b b b b b b b b 1 b b Vc I Vc II Cb I Cb II b b b b b b

32 2 Heteroglossia l I l II Ob 1 b b b b b b b b b b Moderato {q = c 108} b b b b 10 b b b b b CI Bb Cl I Bb Cl II g b b b b b b b b b b b C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã b b b b b b Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II b 1 b Moderato {q = c 108} b 17 b b b 18 b 19 b b 10 b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b B b b b B b b b b b b b b b b b b b b b b b

33 Heteroglossia 27 l I l II Ob b b b CI Bb Cl I Bb Cl II g C Cor IIII r b b b 1 Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim II Ab - G - sub sub sub sub II G - B - erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 11 B B b sub b b sub b b sub b sub sub sub b sub sub sub sub

34 28 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b b b r 2 n b n 2 b 2 b b b b b b Cor IIIV 2 Bb Tr I 2 Bb Tr II 2 Tbn I Tbn II B Tbn Tuba Tim erc ã I C - D - b b b b II B - Gb - Ara no 2 Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 1 2 B B b b b b b b b n n n b b b b b b b b b b b b

35 Heteroglossia 29 l I l II Ob CI Bb Cl I 12 b b b b 1 b b 1 b b b b 1 b b b b n b b b b b b b b 17 1 b b b b b b Bb Cl II g C Cor IIII b b b b Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim b b b b b b b b b b erc ã Ara no Vln I Vln II Vln III 12 b b 1 b b b 1 b b b b b b b b b b b b b b b b n b b b b n b b b b b b Vln IV Vle I Vle II Vc I Vc II Cb I Cb II B B b b b b b b b b b b b b b b b b b b b b b

36 0 Heteroglossia l I b b b b b l II b b b b b Ob CI b b b b b n b Bb Cl I Bb Cl II g n b b C n b b Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I n b b Tbn II n b b B Tbn n b b Tuba n b b Tim I D - C - II Gb - Gn IV Eb - En II G - - erc ã Ara no Vln I Vln II Vln III n 171 b 172 b b b b b b b b b b b b b b b b b Vln IV b b b b b Vle I B n n b Vle II B b Vc I Vc II n n b b b b Cb I n b b Cb II n b b

37 ã B B l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II Ara no 17 b b 17 b b b b r r b Secco b b b Div Div b b b b izz izz izz izz Tutti Tutti 1 Heteroglossia

38 2 Heteroglossia l I l II Ob CI Bb Cl I b bÿ~~ 2 18 b Ÿ~~~~~~~~ 2 Ÿ~~~~~~~~~~~~~ b 2 Ÿ~~~~~~~~~~~~~~~~~~ Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã To Glock ã To Bass Drum I C - E II - IV E - A Ara no Vln I Vln II Vln III Vln IV Vle I Vle II arco Sul III (D/) B B sub sub arco Sul IV (G/) arco arco b b b b b b b b b b 2 Ÿ~~~~~~~~~~~~~~~~~~ 18 b b 18 Ÿ~~~~~~~~~~~~~ b 2 b Ÿ~~~~~~~~ 2 bÿ~~ 2 b b b b b b b b 18 b b b b b b b b b b b b 18 n b n b 187 Vc I Vc II Cb I Cb II sub sub sub sub b b b b n b n b b b b b n b n b b b b b n b n b b b n b n b

39 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b 19 b b b b b b b b b b b b n b b Cor IIIV 2 Bb Tr I 2 Bb Tr II 2 Tbn I 2 Tbn II 2 B Tbn 2 Tuba 2 Tim erc ã II - A - Ara no 2 Vln I Vln II Vln III Vln IV Vle I Vle II 188 b n b n B B n b b b b 189 b b b b b b b b n n 190 b b b b b b b b b b b b b b b b b b 191 n 192 n n n > > > > > > Vc I Vc II b b b > > > n > > > 2 2 Cb I b > > > 2 Cb II b > > > 2

40 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b 19 b n 19 b b b b b 197 n 198 b b b n b b b b b b b b b b b b 199 n n n b n 200 b b b b Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã I E - Eb IV A - E Ara no Vln I Vln II Vln III Vln IV Vle I B Vle II B Vc I Vc II Cb I Cb II

41 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim 202 b b 202 b 20 N N b b n b b nb b n r ç > r r r n r r r erc Ara ã no ç Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 202 b b B B b b b b Î Ï Î b b Î Î b Î Î Î Î Î r r r bb b b r b b b r b b b r r S > ç r

42 l I l II Ob CI Bb Cl I Heteroglossia Bb Cl II 2 g 2 C 2 Cor IIII Cor IIIV 2 Bb Tr I 2 Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara no ç ã 209 ç 210 ç ç (D -1cents) (G -1 cents) \ \ r Vln I Vln II 2 Vln III 2 Vln IV 2 Vle I Vle II Vc I Vc II Cb I Cb II B B ç \ ç Sul IV (E/) (Ab -9cents) ST db ç ST (D -1cents) ST ç (G -1 cents) ST S ç ST ç ES ES ES ES ES ES N db sub N sub N sub N \ sub Ord Ord r

43 Heteroglossia 7 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim ç > > > > > > erc Ara ã no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I 21 B ç Sul I B Sul I 21 db \ > > > 21 Cb II ç > > >

44 8 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II d B B \

45 Heteroglossia 9 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b b 220 b b b n b b n n n b b n b n n n b n n Cor IIIV 2 Bb Tr I 2 Bb Tr II 2 Tbn I 2 Tbn II 2 B Tbn 2 Tuba 2 Tim II A - G - IV E - A 2 erc ã 2 2 Ara no 2 Vln I b b b Vln II b b b 2 Vln III b 2 Vln IV Vle I Vle II Vc I Vc II Cb I B B b b b b b b b b b n b n b n Cb II b 2

46 0 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g 22 r r r r r 229 b b b b b b b b b 20 r r r b b b 21 b b b b b b b b b b b b b b b C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã I Eb - En IV A - Eb - b b b b b Ara no b b ç b b b b b b b b b b Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 22 B B 227 r r r r r r r r r 21 r r r r r r r r B r r B r

47 Heteroglossia 1 l I l II Ob b CI b n b Bb Cl I Bb Cl II g C Cor IIII 22 n n b b b n b b b 2 b b b Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim b b b b b b b b b b b \ b b b b b (G -1 cents) b IV Eb - Ab erc Ara no ã b ç b b b b b b b b b b b 22 2 b b ç b b b b b b b b b b b 2 b b ç b b b b b b b b b b b b 2 2 Vln I Vln II Vln III Vln IV Vle I 22 B b b b b b b b b b b b b b b b b b b b b b b b b b b b b Vle II B Vc I Vc II Cb I Cb II b b b b b b b b r

48 2 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g bb n bn bn b b n b n n b n C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim b b b erc ã Ara no 27 b b b b Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 27 \ \ 28 \ \ \ b b b b b b b b n (Gb -1cents) b b B b b (C -1 cents) b n B \ \ \ \ \ \ b b b (C -1 cents) b b b b b b b b b b b n

49 l I l II Ob CI Bb Cl I Bb Cl II g C 21 n n n b 22 Heteroglossia 2 b b b b b b B 2 b b b b b b Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim b I E - Eb erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II 21 b b b n b n b b b b b b n b n b n b b b n b b b B b B b n n b b b b b 22 n 2 2 b b b b b b Vc I Vc II Cb I Cb II b b b b

50 Heteroglossia l I l II Ob b b b b CI b b b b b b b b b b Bb Cl I b Bb Cl II g C B b b b b b Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Ara no Vln I Vln II Vln III b b b b Vln IV Vle I b b B b b b b b b b b Vle II B Vc I Vc II b b b b Cb I Cb II

51 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C n n n n n n B b 22 Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II B B b b Vc I Vc II Cb I Cb II

52 Heteroglossia l I l II Ob CI 2 b b n n b 2 b b b b b b b n n b b b 2 b n b b b b n b 2 b b b b b b b b b Bb Cl I b b n b b b Bb Cl II n b n n b g B C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba b b b b b b b b b b b b b b b b Tim erc ã Ara no Vln I Vln II Vln III Vln IV Vle I Vle II B B b b b b b b b b Vc I Vc II Cb I Cb II b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b

53 Heteroglossia 7 l I l II Ob CI b 27 b b 2 28 b b b b b b b b b b b b b b 2 b b 2 b b 2 b b b b b b b b b b b b b b b b n b b b b b b b b 29 b b b b b b b b b b b b b b b b b b b b b b b b b b b b b n b b b b b b b b n b Bb Cl I 2 n b b b b 2 Bb Cl II g B b b b b b 2 2 b n b b b 2 2 C 2 2 Cor IIII Cor IIIV 2 2 Bb Tr I 2 2 Bb Tr II 2 2 Tbn I 2 2 Tbn II 2 2 B Tbn 2 2 Tuba 2 2 Tim b 2 b b 2 b b erc ã Ara no 2 2 Vln I Vln II Vln III Vln IV b 21 (Db -1cents) b b (Db -1cents) (Cb +1 cents) b b } b (Db -1cents) (Cb +1 cents) b b } b b Vle I Vle II B b B b 2 2 b b b b 2 2 b b b b Vc I Vc II Cb I Cb II b b b b b b b b b b b b b b b b b b b b

54 8 Heteroglossia l I b Meno Mosso, ca q = l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc B 22 ã b Í b Í 2 b Í Th b 1 C b n n 2 2 b Í b Í b Í b Í 2 27 II G - Th C Ara no Vln I Vln II Vln III Vln IV Vle I b 22 b } b b B b solo Meno Mosso, ca q = arco 27 tutti Vle II B arco Vc I arco Vc II Cb I Cb II arco arco arco

55 Heteroglossia 9 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã III Bb - Bn - n II - G I Eb - C - Ara no Vln I Vln II Vln III O 280 O O Vln IV Vle I Vle II B B Vc I Vc II Cb I Cb II

56 0 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim n erc ã Ara no Vln I Vln II Vln III Vln IV Vle I 281 O O O B 282 O O O Ȯ Ȯ Vle II B Vc I Vc II Cb I Cb II

57 Heteroglossia 1 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b b b b b b n b b b b b b b b n b n b r r n b b b b b b b b 289 n n n n 290 n n 2 2 b b b b 2 2 b b b b b r b b b b b n b 2 n b b 2 b b b 2 b b b n n r 289 n 290 n r Cor IIIV 2 Bb Tr I 2 Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã b 2 2 b b Ara no 2 Vln I Vln II Vln III Vln IV Vle I Vle II 28 b B B b b b b sub b sub b sub b sub 2 b 2 b 289 n n n n n 290 n n n n Vc I Vc II Cb I Cb II 2 b 2 b 2 b 2 b n n

58 2 Heteroglossia l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII b b b b b n n b b b b b n 291 b b b b b r b n b b n n b b b b b b b b 292 r 29 r n Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn b b b n N b b Tuba Tim b b IV Ab - E - IV E - Ab - erc ã Ara no Vln I 291 b b b b b b b 292 n n n b b n b 29n 297 b b n b Vln II b b b b b b b b n b b b n Vln III b b b b b n b b n b b Vln IV Vle I B b b b b n b b Vle II B b n Vc I b n Vc II b n Cb I b Cb II b

59 Heteroglossia l I l II Ob CI Bb Cl I 298 b b b b 2 n b 2 b b 2 b 2 b Bb Cl II 2 b g C Cor IIII b b 2 bb ç ç Cor IIIV b 2 b b Bb Tr I n 2 Bb Tr II n 2 n Tbn I 2 b Tbn II 2 b B Tbn Tuba Tim erc ã b b b b b b ç ç ç ç Ara no 2 Vln I Vln II Vln III Vln IV Vle I Vle II 298 n b 2 n n B arco b arco B b b b 299 b b 2 b b b n 02 bb bb n Div n (C/7) S o ES b Sul IV N Sul o IV (C/) S ES o N Vc I Vc II Cb I Cb II arco arco arco arco b b b b b b b b b b b b b b b b Sul IV (C/11) o ES Sul IV (C/9) S o ES Sul II N (D/9) o ES ST ES ç N N ST N

60 Heteroglossia l I l II Ob CI Bb Cl I > > > > > > > > > > > > > > > > > > 17 > > > > > > > > > Bb Cl II g C Cor IIII ç ç Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã (C/7) n \ (E -1 cents) ç ç ç ç (C/9) To Glock III Bn - -Bb > > > > > > > Ara no Vln I Vln II Vln III Vln IV Vle I Vle II 09 (C/17) O 10 O N (C/18) Sul III b N b bo (C/19) N (C/20) \ \Ȯ ES ES ES (E -1 cents) N ES ES \ N O ES Ȯ N N N Sul II (D/7) Sul II (D/) 1 > > > > > > > > > N % N n > > > > > > 17 > > > > > > > > > > > > ES ES Vc I Vc II Cb I Cb II ES ES ST ç ES ST (D/2) N Sul II (D/) Sul II N N ES ES ES ES

61 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Heteroglossia 18 > > 19 > rull b b b b b b b b b b 22 r b > > > rull b b b b b b b b r b > > b b > b b b r b > > > b n b r n b > n b n > ç ç b b ç ç b b ç 22 ç Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim ç ç b ç b ç b ç ç b ç b ç b Glk > > ã Ara no Vln I Vln II Vln III Vln IV 18 > > 19 > > > > > > > b b b b b b b b b b b b b b b b b b b b b b b b b b b b b Vle I Vle II Vc I Vc II Cb I (%) N N N N N b ç b b b b b b b b b b b ç b b b Cb II N b ç b ç

62 l I l II Ob Heteroglossia 2 b b b b b b b b b b b> rull rull b b b b b b b b b> b b b b b b > CI Bb Cl I Bb Cl II g C Cor IIII b n b ç b ç b 2 ç n b b b n n> r > ç n ç ç n b b 29 Cor IIIV Bb Tr I b Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ç ç b ç b ç b ã ç ç ç ç III Bb - Bn - n b n Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II b> 2 > > b> > b > b > b> 2 Sul IV (G/) III Sul (D/) Sul II (D/) Sul III (G/7) Sul III (G/) (G/) Sul IV Sul III (D/7) Sul II (D/) 2 B B b 2 b Div 27 b b Div b b b Cb I Cb II b ç b ç n

63 Heteroglossia 7 l I l II Ob CI Bb Cl I Bb Cl II b Ï Ï Ï b b b b b n 2 Ï Ï b n b n b 2 b n g 2 Ï C 2 Cor IIII Cor IIIV 2 Bb Tr I 2 Bb Tr II 2 Tbn I 2 Tbn II 2 B Tbn 2 Tuba 2 Tim erc ã r r sub Ara no 2 Vln I Vln II Vln III Vln IV 0 r b r b r r b 2 1 r 2 2 r b r 2 r b b 2 b cresc b b cresc cresc b cresc b sub b sub sub b sub Vle I Vle II Vc I Vc II B B cresc cresc cresc cresc sub sub sub sub Cb I Cb II 2 2 cresc cresc sub sub

64 8 Heteroglossia l I l II Ob CI Bb Cl I 7 > 8 > > n > > n n n> > n n n > > 9 n n n n n n n > > > > > > n n > n n n > n n > > > n n > n > n > n > n n > n > > > > > > > n n n n n n n> n n n > 0 Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc ã Ï I C - D - Ara no Vln I Vln II 7 8 > n n > > >n > n > n >n n > n > > > > n > > n n > n n > n n 9 n n n > n n n n 0 n > n Vln III > > > n n > n > n > n > n n > n n n Vln IV Vle I Vle II B B Sul IVb (C/7) N Sul IV (C/) N ES ES > > > > n > b > n n > n n > B Vc I Vc II Cb I Cb II Sul IV (C/) Sul IV N (C/) N ST ST ES ES ES ES

65 Heteroglossia 9 l I l II Ob CI Bb Cl I Bb Cl II g C Cor IIII Cor IIIV Bb Tr I Bb Tr II Tbn I Tbn II B Tbn Tuba Tim erc Ara no Vln I Vln II Vln III Vln IV Vle I Vle II Vc I Vc II Cb I Cb II 1 1 ã 1 1 B B Sul II (D/2) Seagull eect Sul III Seagull eect Sul III Seagull eect Sul III Seagull eect Sul III Gliss Gliss cresc cresc b bo b bo Seagull eect Sul II cresc cresc Gliss Gliss b bo Seagull eect Sul II b bo Seagull eect Sul II Seagull eect Sul II Gliss Gliss b bo b bo Gliss Gliss b bo b bo g g Gliss Gliss b bo b b bo Gliss Gliss b bo b bo Í Gliss b bo b bo Í Í Gliss Gliss cresc b bo b bo Gliss Gliss b bo cresc cresc b bo Gliss Gliss b bo b bo 7 7 g 7 g 7 Gliss cresc cresc cresc cresc b bo b bo Gliss Gliss b bo b bo b bo b bo b bo b bo rit rit b bo b bo b bo b bo b U 0 0 b U U U U U U Gliss Gliss Gliss Gliss Gliss Gliss Gliss Gliss 0

66 0 2 art 2: Heteroglossia (Novella or Orchestra): uxtaosing Sectral, Late-omantic, and 12-tone Aesthetics to orm a Musical Narrative 21 Chater 1, I Introduction The concetual oundations and title o Heteroglossia (Novella or Orchestra) are intrinsically related to the literary and narrative theories o Mikhail Bakhtin as exressed in his 19 essay Discourse in the Novel 1 The ork uses the ibonacci series and tilings o golden roortions to generate both the structure and the ormal outline, as ell as to generate rhythmic material, the exact arameters o hich are documented in section II o Chater 1: Use o the ibonacci Series and the Golden roortion The ork centres around the uxtaosition and integration o Sectral, 12-tone, and late-omantic aesthetics Thus, section I o Chater 2 rovides an account o sectral aesthetics, history, and techniques: Section II rovides an account o the use o microtonal variance and the harmonic series ithin Heteroglossia: and Section III outlines the use o neo-iemannian triadic transormations ound ithin the ork Bakhtin s ritings on the dialogic ork, olyhony in the novel, and heteroglossia all inuenced the comosition at various levels, and Chater exlores these central concets in Bakhtin s riting The concets o the dialogic ork and heteroglossia orm the core o the comosition; Bakhtin believed that the dialogic rameork actually governs all language and thought, since anything that anyone exresses is a resonse to the ast and in anticiation o the uture There are literally ininite variations that may be alied to ast orms and techniques; to quote the slogan 1 Mikhail Bakhtin, Discourse in the Novel in The Dialogic Imagination: our Essays, Trans Michael Holquist and Caryl Emerson, Austin: U o Texas ress,

67 1 o the reeminent music scholar and comoser Heinrich Schenker semer idem sed non eodem modo 2 Chater is dedicated to the analysis o Heteroglossia and exlores the harmonic structure o the ork, reerential assages, the use o telve-tone techniques, as ell as other techniques utilized ithin the comosition In addition to Bakhtin s ritings, the ork is also inuenced by theories o narratology and semiotics, hich are documented in section I o Chater ; section II o chater ive rovides a conclusion 22 Chater 1, II Use o the ibonacci Series and the Golden roortion Golden roortions and ibonacci numbers are ell established throughout nature and are requently used by humans Tibor Bachmann and eter Bachmann rite o these roortions in nature and architecture: [t]he sunoer has tenty-one clockise and thirty-our counterclockise siral Other lants, as ell as the hydrogen atom, the bee hive, and many other orms o nature are similarly constructed on a ibonaccian sequence The structural measurements o the arthenon are based uon the Golden-Mean relationshis Although golden roortions have long been used in architecture, sculture, and ainting, their use in instrumental music has [also] been ound to be the ormal basis o ractically all the irst movements (in sonata-orm) o Mozart s and o Beethoven s iano sonatas and string quartets, and o Beethoven s and Brahm s 2 Alays the same, but never in the same ay Tibor Bachmann and eter Bachmann An Analysis o Béla Bartók's Music through ibonaccian Numbers and the Golden Mean The Musical Quarterly 1 (1979): 7

68 2 symhonies erhas the best knon examle o the use o ibonacci numbers and the Golden roortion can be ound in the orks o Bela Bartók Bartók had a ascination ith ine cones and sunoers, both o hich adhere to golden roortions, yet [h]e never exlained this ascination, although he endeavoured to exress through his music that artistic creation ollos the rules o nature Ernő Lendvai s seminal ork Bartók Dramaturgida (19) roved the use o ibonacci series in Bartók s Sonata or To ianos and ercussion as ell as in the irst movement o his Music or Strings, ercussion, and Celesta Thus, the use o the golden roortions in music has a ell established tradition In order to structure the narrative o the ork, the golden roortion as utilized to slit the comosition into seven distinct chaters Examle 1 shos ho the ormal and structural outlines o Heteroglossia ere created by using the ibonacci series and tilings o the golden roortions ormally, the irst, third, and seventh chater are comosed using sectral techniques, hile the second, ourth, and sixth chaters contain late-romantic, triadic material The undamental(s) that occur during the sectral sections are rovided Chater ive, hich occurs at the Golden roortion o the ork, reresents the climax here both rinciles are emloyed The roortions o the chaters to one another also adhere to golden roortions: the ratio o the irst chater to the second chater is 1 : 89, thus H Douglas Webster Golden-Mean orm in Music Music Letters 1 (190): 28 Tibor Bachmann and eter Bachmann: 7 See Ernő Lendvai, Bartók Dramaturgida (Bartók s Dramaturgy) Budaest: Zenemúkiadó, (19)

69 chater to begins at the Golden roortion o the irst 2 ; similarly, the ratio o the irst to chaters to the third chater is 2 : 1, ith the beginning o the third chater occurring at 2, the Golden roortion o the irst 77 ; the same roortions govern the ratio o chaters one - three to chater our (77 : 2 ), chaters ive to six (1 : 89 ), and chaters ive and six to chater seven (2 : 1 ) The diagram shon serves as a guide to the roortions o the ork, hoever, during the comosition rocess the roortions have changed slightly to suit the music Examle 1: The ormal/structural Outline o Heteroglossia ibonacci numbers are not only used to design the structural roortions o the ork, they are also used to hel generate and shae much o the rhythmic materials throughout the iece In examle 2 (mm 9-11), the ara has been tuned to C, D, E,, G, Ab and Bb (the scale aroximates artials 8-1 o the C harmonic series, ithout microtonal variance) A glissando is comosed out hich increases by elements o the ibonacci series; the irst glissando contains

70 three notes, the next ive notes, then eight, thirteen, and tenty-one beore contracting in a alindromic manner back to three notes Examle 2: Heteroglossia, mm 9-12 A glissando in the ara that increases by elements o the ibonacci series Examle (mm 2-2) shos the use o ibonacci numbers to generate rhythm There is an accent on every sixteenth note that alls on a ibonacci number; violino I lays thirty-our sixteenth notes, violino II lays tenty-one, violino III lays thirteen, and violino IV lays eight The rocess is reversed miday through m 2; violino IV lays tenty-one sixteenth notes, violino III lays thirteen, violino II lays eight, and violino I lays ive This generates a rhythmic canon, ith entrances occurring on ibonacci numbers; violino I enters on beat one, violino II enters on beat to, violino III enters on beat three, and violino IV begins on beat ive

71 Examle : Heteroglossia, mm 2-2 A rhythmic canon using ibonacci numbers While many o the rhythms and textures aly rigorous theoretical concets, much o the ork is comosed ree o these restrictions to ensure that a sense o sontaneity still exists in the comositional rocess Some o the theoretical concets, such as the use o ibonacci numbers to generate comlex rhythms, ere considered rom a ractical oint o vie The theoretical should never imede the ractical, and so there are limits laced on ho ar these concets inorm the comosition itsel

72 Chater 2: I Sectral Music; II Microtonal Variance; III Late-omantic Triadic Transormations 1 Chater 2, I Sectral Music 11 The Sectral Aesthetic While it is diicult to deine the Sectral aesthetic as alied to the anoly o comosers searated both temorally and geograhically over the last 0 years, it can be summarized as an aroach that laces acoustics, sychoacoustics, and the sectral signatures o instruments beore musical systems such as the tonal or 12-tone system The realm o Sectral music is intrinsically linked to the acoustic roerties o the harmonic series and the temoral ux o overtones in an instrumental timbre Tonal music and Sectral music are both undamentally based on the hierarchy ormed by the harmonic series In act, the use o the harmonic series in comosition and theory is ell documented, rom the ythagorean tuning o antiquity, to the more recent ork o Heinrich Schenker ho orms his entire concetion o the undamental rinciles o tonal music as being related to the harmonic series Thus, the harmonic series is associated as much ith traditional common ractice era music as ith Sectral music, one o the dierences being that Sectral music embraces the higher artials (beginning at the 7th artial) hich contain microtonal variance rom the traditional 12-tone equal temered system According to oshua ineberg, a leading scholar o sectral music and a gited sectral comoser, the most ertinent remark or understanding its [Sectral music s] meaning as

73 7 made by Tristan Murail hen he reerred to sectral comosition as an attitude toards music and comosition, rather than a set o techniques 7 Gerard Grisey, ho alongside Tristan Murail, as one o the leading exonents o the rench Sectral school, outlines some o the consequences o the sectral attitude, including a [m]ore ecological aroach to timbres, noises and intervals ; the integration o harmony and timbre ithin a single entity ; breaking out rom the temered system ; a more attentive attitude toards the henomenology o ercetion; [t]he integration o time as the very obect o orm : []ossible dialectics beteen musics evolving in radically dierent times ; the []otential or interlay beteen usion and continuity, on one side, and diraction and discontinuity, on the other ; as ell as the use o sule, neutral sonic archetyes hich acilitate the ercetion and memorization o rocesses 8 12 History o Sectral Music According to ulian Anderson, a noted scholar o Sectral music, hile there are many rotosectral comosers rom the early to mid-tentieth century, the most imortant recursor, or arguably examle o, sectral comosition is the Danish comoser er Norgard In articular, Anderson cites Norgard s 198 ork Voyage Through the Golden Screen as an imortant recursor o sectral 7 oshua ineberg (ed) Sectral Music: Aesthetics and Music Amsterdam, Netherlands: Overseas ublishers Association Contemorary Music evie 19 (2000): 8 Gerard Grisey Did You Say Sectral trans oshua ineberg, in Contemorary Music evie 19 (2000):

74 8 music, erhas the most direct o all, and must be recognized as such 9 Viviana Moscovich cites even earlier orerunners o Sectral comosition; in chronological order: Claude Debussy, Edgar Varèse, Giacinto Scelsi, and Olivier Messiaen 10 She recognizes Debussy or revolutionizing the musical orld ith to maor changes in the linear organization o melody: 1 By thinking o sound as a erceived obect, and using it to evoke an image, a colour or a eeling by choosing to mix the sounds into sound- ields o dierent lengths 2 In his use o time, ocusing on the notion o the instant and on its acoustic qualities 11 The next ste in the evolution toards Sectral music comes ith the music o Varèse or hom sound is an essential structural element in music and ho anted to liberate sound rom its scholastic rules 12 Varèse invented the technique o ionization, here dierent elements o sound are roected into a dynamic acoustic sace 1 Varèse s seminal ork oème électronique, hich as comosed or the 198 Brussels World s air, reresents a maor shit in comositional direction by breaking the barriers beteen sounds and noises and traditional music The distinction beteen noise and music oens the door to the Sectral aesthetic, as Sectral comosers embrace sounds and noises as the very material ith hich they structure their comositions Varèse did not like 9 ulian Anderson A rovisional History o Sectral Music, in Contemorary Music evie 192 (2000): 9 10 Viviana Moscovich rench Sectral Music: an Introduction Temo, Ne Series, 200 (Ar, 1997): Ibid, Ibid, 22 A Castanet and Odile Vivier Musiques Sectrales: nature organique et matériaux 1 sonores au 20e siècle Dissonanz (Dissonance) 20:

75 9 the term musique concrète, reerring to reer to his music as organized sound As ichard ranko Goldman rites about the ork: in the electronic medium he is alays a comoser and not an electrician or inger-ainter One must admire also his discretion in choosing the term organized sound, and letting the listener decide or himsel hether organized sound is necessarily music Music is certainly organized sound; it is not yet taken or granted that the roosition orks in reverse 1 This emhasis that Varèse as a comoser irst, and not a technician, is an imortant distinction This excursion into the realm o electronic music, o organized sound, inuenced comosers o the sectral school ho ere also orking in the electronic studios o Cologne and ICAM Scelsi reresents the next ste in the evolution as he considered sound as an entity e have to exlore and comose ith, to eel its ulse at every instance o the iece He soke o density, dynamics, satial osition, smooth or rough articles, sectral comosition beore the aearance o the comuter generation 1 Scelsi s 19 ork Chukrum (or String Orchestra), is an excellent examle o rotosectral comosition; the ork is centred on an A maor sonority hich introduces inharmonic tones and noises and exlores the interconnection beteen harmony and timbre Messiaen, ho taught a number o comosers including ierre Boulez, Karlheinz Stockhausen, Tristan Murail, Gérard Grisey, and Michaël Lévinas, takes the next ste by using the arameter o Acoustics, [es]secially in hat he called: the resonance chord, as or examle in his transcritions o birds songs - each ith its exact timbre [i]n these transcritions e ind one o 1 1 ichard ranko Goldman evie The Musical Quarterly 71 (191): 1-1 Moscovich: 22

76 70 the irst examles o a usion beteen harmony and timbre 1 O course, harmony has alays been intrinsically related to timbre; each harmony has a timbre, yet traditionally the to ere considered searate realms o sound Messiaen s musical language uses these to concets o sound together, having the timbre inorm the harmonies that are utilized As obert Sherla ohnson rites: Traditionally, harmony and timbre are quite searate concets, but the use o added resonance brings the to together in a ay hich enables harmony to unction as timbre This concet ervades much o Messiaen s harmonic thought, articularly in his later music His chords become sound entities, comlete in themselves, and the listener should not be aare o the individual notes hich constitute a chord Messiaen requently marks the melodic line to be layed louder than the associated chords, but merely emhasizes their uniied nature and timbre-like quality 17 recursors aside, the emergence o Sectralism is rimarily associated ith to grous o comosers: the eedback grou, centred in Cologne, Germany hich is associated rimarily ith the uils, associates and assistants o Karlheinz Stockhausen ca 1970, most notably ohannes ritsch, ol Gelhaar, Clarence Barlo, as ell as the Canadian comoser Claude Vivier; the second grou, centered in aris, is associated ith the Ensemble l Itineraire, established in anuary o 197 by Michaël Lévinas, Tristan Murail, Hugues Duourt (ho actually coined the monicker Sectral Comosition ), Gérard Grisey and oger Tessier In both cases the ork o the comosers as heavily inuenced by their research in the electroacoustic studios at Cologne and ICAM resectively 1 17 Ibid, 22 obert Sherla ohnson Messiaen Los Angeles: University o Caliornia ress (1989): 18

77 71 These comosers utilized technologies such as ast ourier Transorms, Sonograms, and Sectrograms to roduce sonograhic reresentations o instrumental and electroacoustic timbres as they evolve over time This data inormed their comositional decisions to varying degrees, but their ocus as alays the same; to ocus on instrumental timbres and harmonic sectra irst 18 There are some notable Canadian comosers o sectral music, including Bruce Mather ho exerimented ith microtonally tuned instruments (although Mather s use o microtones is not based uon the harmonic series), such as in Vouvray (198) or oboe and har here the har is tuned microtonally Another notable examle o sectral music in Canada is ound in the music o ames Tenney, ho rote many comositions utilizing microtones (oten based on the harmonic series) such as Changes (198), hich is a comosition or six hars tuned a sixth-tone aart The ork o comosers such as hilie Leroux and aul Steenhuisen reresent the continued tradition o Sectral music in Canada The inuence o the emerging technologies and Sectral analysis led to mathematisable roerties o sound or the irst time here every sound is comosed o dierent arts, taking into account the harmonicity and amlitude as they change over time The signal is thereore decomosed in [a] series o harmonics and sound is reresented in the orm o a mathematical ormula 19 This total ersective o sound, the nuances o hysical henomena as they evolve over time, became the ra material or the comoser Ibid: 1-19 Ibid: 21

78 72 1 Sectral Techniques Instruments are hysical bodies, and hen hysical bodies vibrate, they act, to a certain degree as ilters, emhasizing certain bands o requencies and attenuating others 20 These emhasized artials are called ormants, and are largely resonsible or giving the characteristic sound o an instrument In the case o the ute the 2nd, 7th, 12th, and 1th artials are all emhasized relative to the other artials, giving the ute its unique sectral signature 21 To other crucial asects to the sound o an instrument are its attack transients and sound enveloes; these rovide a temoral asect to the sound, ie ho the sound evolves over time, hich also hels us distinguish one instrument rom another or examle, the attack in relation to the decay o the iano gives us an auditory imression unique to the iano To quote oshua ineberg, [i]t has been shon that i the attack is removed it becomes very hard to identiy instrumental timbres correctly 22 The sound enveloe may also take a dynamic orm, called sectral ux, hich reers to the amount o variation ithin a sound as it evolves over time, and may be modelled using a Dynamic ast ourier Transorm 2 One o the most common techniques emloyed by sectral comosers is the use o requency based microtonal structures as oosed to the use o itch 20 oshua ineberg, Guide to the Basic Concets and Techniques o Sectral Music, in Contemorary Music evie 192 (2000): Ibid: 92 Ibid: 9 2 The ast ourier Transorm converts time and sace to requencies, and shos ho a sound s ormants evolve over time

79 7 classes These microtones are usually related to the harmonic series, or some distortion thereo The series may be stretched, shited, modulated, or have to or more undamentals oerating at the same time While many comosers, including György Ligeti and Iannis Xenakis, have laced a strong emhasis on timbre, the comosers o the sectral school have made it the main element in their comositions and [t]hey have also established the overtone series as their oint o reerence 2 rançois ose notes that the originality o Sectral music does not come rom the act that it uses the overtone series, citing the German hysicist Hermann Helmholtz as discovering that the colour o sound as inuenced by the content and eighting o its overtone structure in 180 What is unique about Sectral comosition, hoever, is that rather than ocusing on musical structures that are based uon cells or motis, hich is the dominant tradition o Western music, Sectral comosition resonds to comlex hysical circumstances (ie the ra data roduced by sonograhic reresentations o timbres as they evolve over time) hich includes the overtone series 2 At a resentation at the Darmstadt courses in 1978, Grisey outlines the establishment o timbre over moti: The material derives rom the natural groth o sonority, rom the macrostructure and not the other ay round In other ords there is no basic material (no melodic cell, no comlex o notes or note values) 2 2 rançois ose Introduction to the itch Organzation o rench Sectral Music ersectives o Ne Music 2 (Summer, 199): Ibid: 7 ecord notes; Gerard Grisey, Erato STU7117, 1981

80 7 A oerul examle o this ne aroach can be ound in the oening o Grisey s inuential ork artiels (197) The initial insiration or the comosition comes rom a sonogram analysis o a lo edal E1 (ith a requency o 12 Hz), the ormants o this initial sectral signature are orchestrated to the nearest quartertone This technique o orchestrating artials is reerred to as instrumental additive synthesis 27 Not only does Grisey make use o the requencies o the trombone s overtone series, but he also resects the time-oint roortionality beteen the entrance o the model trombone sonogram s artials taking into account the dynamic level o each comonent 28 An examle o this ould be the ay he orchestrates the ourth artial, hich is relatively lo in amlitude comared to the other artials, as a natural harmonic on the bass, hich results in a much eaker sound than the others ithin the sonority The ay the sound evolves over time is taken into account as [i]n most brass sound, the uer artials emerge slightly later than the loer ones, a henomenon hich Grisey imitates (on a greatly exanded time scale) 29 In addition to the harmonic sectrum, other comonents, hich are not hole number multiles o the undamental, may be introduced The requencies hich remain reect the henomenon called inharmonicity In Grisey s artiels, artials 1,2,,10, and 1 are all emhasized ith the successive reiterations o the undamental, but inharmonic tones are gradually added, creating a sense o ose: 8 Ibid: 8 29 obert Hasegaa Gérard Grisey and The 'Nature' o Harmony Music Analysis 282 (uly-october 2009): 1

81 7 disturbance to the original sound orld As these inharmonic tones become more and more resent the music begins to take on a character o noise This is achieved by utting more ressure on the bo hile the ind instruments achieve a similar eect by changing dynamics very raidly hile sustaining their sounds 0 In addition to these inharmonic tones, since the artials are erormed by real instruments (as oosed to ure sine tones) ith their on comlexes o overtones and ormants, other sonorities are introduced into the timbre Another examle o sonograhic analysis inuencing the comosition o a ork is Grisey s Transitoires ( ) In this comosition, a string bass is analyzed ive dierent ays, laying izzicato, normal, normal toard the bridge, almost on the bridge, and sul onticello With each subsequent entry o the undamental, artials 1, 2,, 11 and 1 are alays resent, creating a comlex sound ith its on ormants or the entire section ose notes that Grisey conceived both the entire orchestra and a smaller grou o instruments as to synthesized string basses, hich e might call a macrohonic and a microhonic one [he] urther contrasted these to synthesized string basses ith a real one, alays resenting the three in the olloing order: real, microhonic, macrohonic 1 The succession o these three sounds creates a sonority hich mimics the attack, the amlitude contour, and the decay ortion o the sound Hasegaa notes that [t]he hysical roerties o sound are brought into ocus by these techniques o analysis and re-synthesis; this is an aeal to 0 1 ose: 11 Ibid: 11

82 7 nature in the obective sense o the term 2 The reerence to the harmonic series in comosition and analysis has a long tradition Beginning ith the ythagorean divisions o the string to create a hierarchical collection o intervals, to ameau s cors sonore as ormulated in the Génération harmonique, here his rinciles o harmony are inuenced by Castel s observations o the harmonic series, here this henomenon seem[ed] to oer a more natural origin or the harmonic series ameau had generated through aliquot string divisions, it also rovided a more convincing deinition o the undamental bass Hoever, ameau s treatise on the harmonic series only ent u to the sixth artial to avoid the out o tune natural seventh artial Similarly, Schenker s ork ants to demonstrate that music as e kno it is not a urely artiicial construction but grounded in the natural henomenon o the harmonic series, hile at the same time inding a ay to avoid the out-o-tune seventh artial What is unique about the Sectral aroach, hoever, is that the harmonic series is taken as it is, ith all o the imerections o tuning and comlex timbral comonents While the relationshi o requencies ithin a given instrumental sectra (hether it be a single instrument or an entire orchestra) comared to the idealized harmonic series is quite close, most musical sounds have inharmonic sectra Hasegaa cites the iano string as having a stretched sectrum: that is, the irst overtone is not exactly tice the requency o the undamental (a 2 Hasegaa: 1 Thomas Christensen ameau and Musical Thought in the Enlightenment Cambridge: Cambridge University ress (200): 1 Nicholas Cook The Schenker roect: Culture, ace, and Music Theory in in-de-siecle Vienna Ne York: Oxord University ress (2007): 18

83 77 erect octave), but slightly higher and [o]nly an idealized string ith no mass or resistance ould roduce a ure harmonic sectrum In act, by the ourth octave the artials o a lo iano note are actually aroximately a third o a hole tone (+ cents, more then a quarter-tone shar) higher than their equivalents in a ure harmonic series The harmonic sectra o brass instruments is similar, hoever their overtone series are comressed, ie each artial is loer that its counterart in the harmonic series Whereas the ork o the early Sectral comosers as inuenced by real sound sectra o instruments and sounds, the ork o Georg riedrich Haas seeks to relicate the harmonic series in its idealized orm The challenges o orchestrating a urely harmonic sectrum are diicult to overcome, hich is reected in the title o his 2010 ork Limited Aroximations The ork is scored or a massive orchestra: utes, oboe, clarinets, bassoon, horns in, 1 C trumet, trombones, ianos, 10 violin I arts, 10 violin II arts, viola arts, violoncello arts, and 8 contrabass arts The six ianos are tuned to the nearest telth-tone (totalling 72 telth-tones er octave) Haas rites about his intentions in utilizing such recise tunings: The telth-tone tuning o the ianos rovides a good aroximation o the intervals o the overtone scale, but diverges rom it markedly in some resects Ideally, the instruments o the orchestra ould take the examle o the tuning o the iano only at the tonic and the octaves, and correct all other intervals by ear toards the correct tuning (articularly the iths Hasegaa: 2 Ibid: 2

84 78 and augmented ninths, the maor thirds and the minor sixths), ith the telth-tone scale o the ianos merely serving as an orientation oint 7 Haas earlier orks, most notably his seminal ork In Vain (2000), contain microtones hich include quarter- and sixth-tones, ith many assages utilizing natural harmonics on the horns and tuning o the harmonic series in the strings and oodinds, hile the har is tuned microtonally to the harmonic series o C1 His 200 ork Natures mortes goes a ste urther, there are six dierent overtone chords, o hich our are based on the traditional telve-tone equal temered system Limited aroximations, thanks to the ianos, allos or a tuning system that is nearly identical to the natural harmonic series 2 Chater 2, II The Harmonic Series and Microtonal Variance in Heteroglossia Heteroglossia makes use o microtones hich include quarter-, ith-, sixth-, eighth-, and even sixteenth-tones; the ork o Sectral comosers such Gerard Grisey and Georg riedrich Haas rovides a recedent or such ine tuning o microtones (Grisey used eighth-tones, and Haas uses telth-tones to tune the ust maor third) These microtones are utilized in order to aroximate the harmonic series o various undamentals throughout the comosition Examle shos the harmonic series o the irst 2 artials based on the undamental o C 7 Georg riedrich Haas Work Introduction htt://universaleditioncom/georg- riedrich-haas/comosers-and-orks/comoser/278/ork/18, accessed Aril 2rd, 201

85 79 Examle : the irst 2 artials o the C harmonic series The irst column reveals that artials are related to one another logarithmically, and that ne itch classes 8 are alays ormed on odd numbers or examle, 8 Nb These itch classes are not related to the 12ET system as they involve microtonal tuning

86 80 artials 1, 2,, 8, 1, etc all share the same itch class, and ne itch classes are ormed on the rd, th, 7th, 9th, 11th, etc artials The second and third columns shos the 12-tone Equal Temerament equivalent o each artial The last column shos the microtonal variance o each artial rom the 12ET system here 100 cents is equal to one semitone Within Heteroglossia, quarter-tones are used to tune artials 11/22, and 1, hich have a microtonal variance o -9 and + cents resectively; ith-tones are used to tune artials 1/2, hich have a variance o +1 cents; sixth-tones are used or artials 7/1/28 and 29, ith a variance o -1 and +0 resectively; eighth-tones are used to tune artials 21, 2, 2, ith a variance o -29, +28, and - 27 resectively; and sixteenth tones are used to tune artials /10/20 and 1/0, ith a variance o -1 and -12 resectively Examle shos ho these microtones are notated throughout the comosition

87 81 Examle : Accidentals used in Heteroglossia to aroximate the harmonic series Examle shos the oening assage o Heteroglossia in the strings The C2 undamental is stated in contrabassi II, and artials 9 (D), 10 (E), 11 (), and 1 (Bb) are ound in viole (I, II) and violoncelli (I, II) The artials are tuned by virtue o being layed as natural harmonics on the C string, ith the excetion o contrabassi I, hich lays the 8th artial (C) on the D string as a natural harmonic on the seventh artial, hich results a tuning that is a third o a semitone (a sixth-tone) loer than the idealized 8th artial The string name and artial are given in brackets as a guide to here these natural harmonics are ound Bo directions indicate movement to and rom sul onticello (S) - and extreme sul onticello (ES) to both add colour and to hel coax out the natural harmonics

88 82 Examle : mm 1-7, the oening o Heteroglossia Examle 7 shos the irst ive measures in the tromboni; each trombone oscillates both u and don by a quarter-tone at various seeds, thus obscuring the undamental hich is heard in the contrabass (at the itch level o E1) This oening gesture is utilized to create an unsettling atmoshere beore the undamental o C is introduced and harmonized ith natural harmonics on the strings Examle 7: Heteroglossia, mm 1 -, quarter-tone oscillations in the trombones

89 8 Examle 8 shos a similar assage hich can be ound in the brass at mm 28-1 The tuba and trombone basso are laying the undamental (1), trombone II is laying the rd artial (C), and trombone I lays the th artial () At m 27, the C trombe and corni in enter ith oscillations beteen dierent artials using embouchure tuning and natural harmonics: tromba II vacillates beteen artials (C), 8 (), and 10 (A); tromba I lays artials 10 (A), 12 (C), and 1 (E); corno IV edals on the 2nd artial (2); corno II oscillates beteen artials (C), (), and (A); corno III oscillates beteen artials (C)and 7 (E); and corno I oscillates on artials 9 (G), 10 (A), and 11 (B) The corni and trombe arts are all layed by overbloing on the same ingering to coax out the dierent artials, thus tuning the assage to the harmonic series Not all assages can be erormed using natural harmonics to tune the microtonal variance o the artials Examle 9, measures 9 -, demonstrates such a assage in the strings The layers tune the microtonal variance o each artial, hich is notated in arenthesis above the note

90 8 Examle 8: Heteroglossia, mm 28-1, brass harmonics tuning to the harmonic series Examle 9: Heteroglossia, mm 9 -, microtonal variance in the strings Examle 10, measures 78-8, demonstrates ho chords hich are based on the harmonic series are notated Note that the score is a transosing score The overtone chord is orchestrated in the oodinds as ollos: clarinetto II lays the 12 artial (D), the 1th artial is ound in auto II () ith a variance

91 8 o -1 cents, the 18th artial is ound in oboe (A), and the 20th artial is ound in auto I (B) ith a variance o (-1 cents) Most o these artials have a minimal degree o microtonal variance rom the 12ET system, but artials 11, 1, and 20 require some degree o variance I utilized a resource called the Virtual lute rom the University o Ne South Wales ebsite on music acoustics to ind ingerings or the ute to be able to tune these small degrees o microtonal variance, hile the quarter-tone in clarinetto I is let u to the erormer as it may be tuned using embouchure tuning or alternate ingerings The exact artials are alays notated in this ay so that the layers and the conductor kno here they it into the chord Examle 10: Heteroglossia, mm 78-8, ho chords based on the overtone series are notated

92 8 Chater 2, III Late-omantic Triadic Transormations To contrast the materials that are ritten using the sectral aroach and the harmonic series, a large ortion o Heteroglossia makes use o late omantic triadic transormations These sections utilize a variety o techniques to roduce the itch material, rom the use o a telve-tone ro to generate the rimary melody, to the use o ichard Cohn s hexatonic and hyer hexatonic cycles to roduce the harmony (examle 11) Cohn s hexatonic cycles, sometimes reerred to as maximally smooth cycles, arrange triads based on arsimonious voice leading Each triad contains to common tones ith its neighbouring triads, and the transormations consist o (a move to the arallel maor or minor), L (an exchange o the leading tone to the tonic), and (a move to the relative maor or minor) The oles ithin the hexatonic system are maximally dissimilar, ie they have no common tones The hyer hexatonic system takes the our distinct hexatonic collections and arranges them into a North, East, South, and West system The neighbouring collections have three common tones beteen the hexatonic cycles, hile the hyer hexatonic oles have no common tones Examle 11: Cohn s hexatonic and hyer hexatonic systems 9 9 ichard Cohn, Introduction to Neo-iemannian Theory: A Survey and a Historical ersective, in ournal o Music Theory 22 (1998): 17

93 87 Examle 12 shos the construction o a telve-tone ro as it aears in the corno inglese in measures 2-; this melody contains the seed or much o the sections in the ork ritten in a late-omantic idiom The head motive o the ro is ormed using Set Class -2, and this motive is used as the grundgestalt (the basic orm) or much o the comosition To quote Schoenberg []hatever haens in a iece o music is the endless reshaing o the basic shae There is nothing in a iece o music but hat comes rom the theme, srings rom it and can be traced back to it; to ut it still more severely, nothing but the theme itsel 0 The ro is almost entirely constructed o artitions o SC -2, ith the excetion o the inal three notes, hich are constructed o SC - This telve-tone ro is harmonized using triadic transormations, and recurs at various itch levels throughout the comosition Examle 12: Heteroglossia, mm 2 - (transosed to C), shos the use o a melodic 12-tone ro in the corno inglese Examle 1, mm -9 shos ho the head motive o the ro is used to generate and develo material The contrabassi and violoncelli lay a i - viio - i - iv chord rogression (although the triads are incomlete), hile the violini build Arnold Schoenberg Linear Counteroint in Style and Idea Boston: aber and aber 0 (198): 290

94 88 clusters using natural and artiicial harmonics hich are based on the grundgestalt head motive o SC -2 using the notes DO, TI, E The viole resond in harmonics ith SOL, LE At m 8, I briey quote the rincial melody o Schoenberg s Verklarte Nacht, hich is also constructed ith a head motive o SC -2 Examle 1: Heteroglossia, mm -9, shos the grundgestalt motive using SC -2

95 89 Examle 1 shos the oodinds at mm , the beginning o Chater This very transarent texture has a chord rogression hich as derived rom hexatonic and hyer hexatonic cycles The irst three chords, -, D, and d- are all adacent members o the Southern Hexatonic Cycle, ie they are related by arsimonious voice leading to one another The remainder o the rogression seeks to utilize maximally dissimilar triads The Eb maor chord, hich belongs to the Western hexatonic cycle, is olloed by an A chord hich belongs to the Eastern hexatonic cycle; this rogression is the amiliar neoolitan rogression in the key o d minor, but in this context the tonic is obscured because e begin in the distantly related key o minor and end the rogression ith an E maor chord in irst inversion The sixth chord, g minor, returns to the Western hexatonic cycle beore ending the rogression ith E in irst inversion, hich has no common tones ith the g minor chord and belongs to the Northern hexatonic cycle Much o the comosition utilizes these tyes o neo-iemannian triadic transormations The music in the late-omantic ortions o the comositions are very rarely irmly lanted in a key, but rather, the music is alloed to modulate reely to distantly related key areas

96 90 Examle 1: Heteroglossia, mm , triadic transormations based on the Hexatonic and Hyer Hexatonic systems The hyer hexatonic system is also utilized at the climax o the ork, hich is shon in examle 1, mm A 12-tone verticality is ormed by stacking maor and minor triads; in the contrabassi and violoncelli II there is an e minor chord, hich belongs to the northern hexatonic cycle In violoncelli I and the viole there is an Ab maor chord, hich is at the olar oosite side o the Northern hexatonic cycle relative to the e minor chord Above this is a Bb minor triad constructed in violins and, this belongs to the southern hexatonic cycle, and inally, a D maor triad is constructed in violini I and II, hich is the olar oosite side o the Southern hexatonic cycle in relation to the Bb minor chord This chord is scored or the entire orchestra, the only moment o orchestral tutti in the hole iece, but the construction o the chord is most evident in the strings

97 91 Examle 1: Heteroglossia, mm , a telve-tone verticality created by stacking triads based on the oles o the hexatonic and hyer hexatonic systems

98 92 Chater : Concets in the Writings o Bakhtin 1 Chater, I Dialogism Bakhtin s theory maintains that a dialogic literary ork is in continual dialogue ith orks o the ast; that it is in an involutionary relationshi here the resent inorms the ast as much as the ast shaes the resent Thus, the dialogic ork is inherently inuenced by, and maintains an oen dialogue ith, ast and resent orks It rovides an anser, an airmation or denial, an extension, or a ne context or the revious orks This is not unlike hen an author quotes a revious ork, removing it rom the socio-cultural context o the original narrative, and imbricates it into the context o the author s on ork and society Dialogism is best understood as a hilosohy o language and thought hich stresses the connections beteen dierences As Michael Holquist eloquently uts it [d]ialgosim begins by visualizing existence as an event, the event being resonsible or (and to) the articular situation existence assumes as it unolds in the unique (and constantly changing) lace I occuy in it 1 urthermore, Holquist rites that in dialogism lie is exression, that exression means to make meaning, and that meaning comes about through the medium o signs Something exists only as the means in a sign, and there is nothing that may not unction as a sign so everything has the otential to mean Meaning is constructed in both the individual syche and in the shared social exerience 1 Michael Holquist Language as Dialogue Dialogism 2nd edition Ne York: outledge (2002): 7

99 9 through the medium o the sign; it is in both these sheres that understanding comes about as a resonse to a sign ith signs Bakhtin s concetion o the novel is that the novel is a seciic seech genre hose constituent arts are numerous seech genres Thus, the novel has the quality o reraction through the use o dierent languages, none o hich are redetermined or hich exress an obective authorial intent As Maria Shevtsova rites, these strata o languages are brought into being by determinate seakers ho seek to address actual, imlied, or imaginary interlocutors, among hom must also be counted the siting thought rocesses through hich one s on ords succeed in inding ormulation 2 We can extraolate rom Bakhtin s ritings on dialogism (a term hich he himsel did not use, although he does rite on dialogic relationshis) that the stratiication o language is used as a device to address certain thematic concerns and varieties o genre Within individual essays and iction, e ind varying mixes o voices, the dialogism o characters and narrators hose voices are constructed based uon certain socio-ideological conditions, the meeting o hich engage in a metanarrative At its very core, dialogism is (as the term imlies) dialogue, dialogue beteen the individual and society, beteen the characters and narrator, and beteen the author and the reader I believe that the history o estern art music is intrinsically dialogical Comosers have created entire orks on the themes o revious comosers 2 Maria Shevtsova Dialogism in the Novel and Bakhtin s Theory o Culture Ne Literary History 2 (Summer 1992): 70 Cynthia L Bandish Bakhtin s Dialogism and the Bohemian Meta-Narrative o Belgravia : A Case Study or Analyzing eriodicals Victorian eriodicals evie (all, 2001): 21

100 9 They have reused orms such as the sonata or symhony, and requently emloyed the comositional techniques and styles o revious comosers into their on ork I roose, hoever, that a dialogic music comosition makes ree use and even synthesizes disarate, and oten olemical, styles, aesthetics, and techniques to create ne orks I roose that stylistic extremes are elegantly linked: extreme dissonance and consonance are exquisitely interchanged; old orms and narratives are synthesized to create ne orms; and the highly artisan questions o contemorary aesthetics (ie does it sound ne or conservative) are deemed irrelevant 2 Chater, II olyhony in the novel In his seminal ork roblems o Dostoevsky s oetics, Bakhtin introduces the concet o olyhony (hich he borros rom music) to his literary theory As Andre obinson describes: Bakhtin reads Dostoevsky s ork as containing many dierent voices, unmerged into a single ersective, and not subordinated to the voice o the author Each o these voices has its on ersective, its on validity, and its on narrative eight ithin the novel The voice o the author is not imarted on the characters, thus the novel may have contradictory vieoints, almost as i the novel as ritten by the multile Mikhail Bakhtin roblems o Dostoevsky s oetics Ed and trans Caryl Emerson Minneaolis: University o Minnesota ress (198) Andre obinson, In Theory Bakhtin: Dialogism, olyhony and Heteroglossia in Ceaseire online, uly 29th, 2011 Accessed August th, 201

101 9 characters ithin it instead o a single author Each character resents her ersective o reality, hich may dier rom that o the author, and there is a lurality o consciousness, each ith its on orld Thus, the characters are engaged ithin a dialogic relationshi ith one another, and the totality o their lurality orms a uniied hole Bakhtin contrasts this style o riting ith monologism, a single voice narrative that is characteristic o traditional riting and thought In a monologistic ork, there is one boundless ersective, hich is made u o obects ith the sole urose o utting orth a single ideology or certain values Bakhtin criticizes these orks or having a lack o breadth and ersective, since they esche any contradictory ersective Bakhtin exlores this concet o olyhony in novelistic discourse His reading o Dostoevsky leaves the imression that one is dealing not ith a single author-artist ho rote novels and stories, but ith a number o hilosohical statements by several author-thinkers - askolnikov, Myshkin, Stavrogin, Ivan Karamazov, the Grand Inquisitor, and others 7 Dostoevsky s orks are broken u into a series o disarate and oten contradictory hilosohical stances, each reresented by one or another character Dostoevsky s on vies and hilosohical ideals are merged ith the voices o these characters, oten exressing a synthesis o these disarate hilosohical vies, and are sometimes even comletely masked in rose The characters vies are seen to be authoritative and indeendent; their voices orm their on ideological concetion searate rom Dostoevsky s artistic and hilosohical Ibid 7 Bakhtin;

102 9 visions Bakhtin characterizes Dostoevsky s ritings as containing [a] lurality o indeendent and unmerged voices and consciousnesses, a genuine olyhony o ully valid voices 8 The characters ithin the novel are not only obects o authorial discourse, but contain their on discourse oulated ith their intentions and hilosohical ersectives My ork alies this concet o narrative olyhony via orchestration I assign individual instruments and grous o instruments certain roles, not unlike characters in a novel The urose o this is to take seemingly incomatible musical elements, and to uxtaose and integrate them in equal arts through orchestration Instead o linking all the instruments together to orm one sound, I utilize the inherent strengths o seciic instruments and instrumental combinations to ortray the three aesthetics I emloy - Sectral, late-omantic, and 12-tone or examle, the brass and strings are excellent or assages containing ust intonation, as the natural harmonics on the instruments allo or the comlex tuning required to aroximate the harmonic series Woodinds, ith the excetion o the ute and clarinet, on the other hand, are much more limited in their caacity to tune to the harmonic series and are utilized or the 12-tone equal temerament assages The strings and ercussion are much more versatile, and are utilized or both the late-romantic material, as ell as the sectral material Throughout the ork, the roles o the instruments change to meet the needs o the music, changing beteen the 12-EQ tuning system to tunings based uon the overtone series 8 Ibid:

103 97 The concet o the olyhonic novel has had a signiicant inuence on the artistic design o Heteroglossia Since the concetual rameork o the iece exlores a non-rogrammatic narrative it is structured as a novella or orchestra here multile strands o musical exression are oined together in equal arts There is not one boundless, monologic intention to the ork; it is by its very nature dialogic in construction As Bakhtin rites rom the oint o vie o hilosohical aesthetics, contrauntal relationshis in music are only a musical variety o the more broadly understood concet o dialogic relationshis 9 Both musical olyhony and narrative olyhony (ie the olyhonic novel) seek to exress a dialogue beteen their constituent arts hich diers rom the traditional (that is, the homohonic) novel or musical ork It is recisely this dialogue that I exlore in my comosition Chater, III Heteroglossia Heteroglossia (rom the Greek hetero - dierent, and glōssa - language), in the ritings o Bakhtin, reers to the coexistence o diverse, and oten conicting styles and voices that combine to orm the narrative o a novel It also reers to the reraction o authorial intent into these distinct voices, seciically, by resenting them as another s seech in another s language 0 Accordingly, a novel assembles these distinct voices and ersectives artistically to orm the 9 0 Bakhtin, roblems o Dostoevsky s oetics: 2 Mikhail Bakhtin and Michael Holquist, The Dialogic Imagination: our Essays: 2

104 98 hole The originality o the novel is derived not rom the contrasting elements used to construct the text, but rather rom the combination and interaction o its distinct voices These voices exress to uroses: irst, to exress the intentions o the character; and secondly, to exress the reracted intention o the author These heterogenous tyes o discourse are subordinated to the higher stylistic unity o the ork, a unity hich cannot be identiied ith any single one o the unities subordinated to it The novel contains a diversity o social seech tyes (lexical, semantic, and syntactic) and a diversity o individual voices that are artistically organized This internal stratiication is the indisensable rerequisite or the genre o the novel Thus the novel orchestrates all o its themes, creating the totality o the orld o its obects as ell as the ideas deicted and exressed ithin it, through the social diversity o seech tyes and by diering individual voices that ourish under such conditions As Bakhtin rites: Authorial seech, the seeches o narrators, inserted genres, the seech o characters are merely those undamental comositional unities ith hose hel heteroglossia [raznorecie] can enter the novel; each o them ermits a multilicity o social voices and a ide variety o their links and interrelationshis (alays more or less dialogized) These distinctive links and interrelationshis beteen utterances and languages, this movement o the theme through dierent languages and seech tyes, its disersion into the rivulets and drolets o social heteroglossia, its dialogization - this is the basic distinguishing eature o the stylistics o the novel 1 This oint o vie is one in hich the heteroglot literary language is stratiied into generic and eriod bound dialects; this stratiication and heteroglossia is not only 1 Ibid: 2

105 99 a static invariant o linguistics, but it also serves to rovide dynamics hich deeen as long as language is alive and develoing While the author rites their text under articular socio-historic conditions, the reader brings their on socio-ideological concetion to the text This relationshi exresses the intrinsic heteroglossia o all language and thought, the inescaable relationshis that are governed by the ast, resent, and uture conditions surrounding the concetion and ercetion o the ork These heteroglot arameters intersect on a common lane, as all the languages o heteroglossia are seciic oints o vie on the orld that are characterized by their on obects, meaning and values Thus, they may be uxtaosed to one another, mutually sulement one another, and even contradict one another These inherent relationshis struggle and evolve in an environment o social heteroglossia, and the novel seeks to unite these disarate and oten olemical understandings; the author, in a sense, orchestrates his themes and values in a reerential and exressive manner hich methodologically incororates stratiied levels o meaning and understanding Heteroglossia (Novella or Orchestra) is, at its very core, intrinsically related to Bakhtin s concet My goal, as the comoser, as to create a ork in hich the dierent styles and aesthetics utilized (sectral, telve-tone, and lateromantic) reract the musical narrative into dierent realms o sound There is no authoritative voice o a narrator or monologic concetualization to the comosition The language utilized is oulated ith seciic reerences to the rench sectral school (the oening as inuenced by the oening o Grisey s artiels), the music o Arnold Schoenberg (chater to makes an exlicit

106 100 reerence to the main theme o Verklärte Nacht), and late-romantic triadic transormations (articularly those ound in the late music o ichard Strauss, ith emhasis on his 19 ork Metamorhosen) Thus, the ork is oulated ith the use o other s comositional techniques and aesthetics It is the uxtaosition and integration o these disarate styles o comosition hich result in a unique ork

107 101 Chater : eerential assages in Heteroglossia Throughout the ork there are many reerential assages, some exlicit, to ast orks hich serve as models The oening, hich begins ith the establishment o an E1 undamental, ays homage to the oening assage o Grisey s artiels hich oerates on the same itch level Examle 1, m 8, shos a reerence to Schoenberg s Verklärte Nacht here the strings lay the beginning o the ork s main theme, orchestrated using harmonics in the violini and viole to veil the reerence hile the contrabassi and violoncelli lay identical material to the original (a simle minor ascension rom La to e harmonized ith diatonic thirds) Examle 1: the let shos m 29 o Schoenberg s Verklärte Nacht 2 hile the right shos ho this reerence is orchestrated in m 8 o Heteroglossia 2 Arnold Schoenberg Verklärte Nacht Berlin-Lichtereld: Verlag Dreililien (1899)

108 102 Examle 17 shos another exlicit reerence, this time to Lutosłaski s Livre our Orchestra Livre oens ith a glissando hich is orchestrated in such a ay that each instrument stos and sustains a quarter-tone on the ascent/ descent o the glissando, building a microtonal cluster o quarter tones hich sans the intervals o a minor third (descending) and a maor third (ascending) This technique is borroed in mm 9-9 o Heteroglossia here a microtonal cluster sans the interval o a maor third Examle 17: the let shos mm 1-2 o Lutosłaski s Livre our Orchestra hile the right shos mm 9-9 o Heteroglossia Witold Lutosłaski Livre our Orchestra London: Chester Music (198)

109 10 Examle 18: the to shos Sring ounds rom Stravinsky s ite o Sring, hile the bottom shos mm 11-1 o Heteroglossia Igor Stravinsky The ite o Sring Mosco: Muzyka (19), rerinted Mineola: Dover ublications (1989)

110 10 Examle 18 contains yet another reerence, this time to Sring ounds rom Stravinsky s ite o Sring Mm 11-1 contain a rogression o arallel erect iths in the same key o E minor to the original, ith a melodic line in diatonic thirds in the corni and trombe The main dierence beteen this assage in Heteroglossia and Stravinsky s ite o Sring is that the original is syncoated, and is much longer than the reerence erhas the most inuential reerence in the ork is to Dr eter aul Koroski s Ancestral Voices here the strings gradually build a 12-tone verticality This assage is reerenced multile times in Heteroglossia: in mm , , and 00-0 This technique is utilized many times, most signiicantly at the climax o the ork (mm ) There are to main dierences beteen the original and the reerence: irst, the original is rhythmically homogeneous, it is comrised o eighth note trilets (ith some sixteenth notes), hile the reerence (at the climax) builds a ive art olyrhythm o gradually aster note values, beginning ith eighth notes in contrabassi I and II and violoncelli II, eighth note trilets in violoncelli I and viole II, sixteenth notes in viole I and violini IV, sixteenth note quintulets in violini III, and sixteenth note sextulets in violini I and II; the second dierence is that the original is voiced as a cluster overto o an e diminished triad in the contrabassi and violoncello (ith a d minor triad in violins I in the to), hile the reerence is made u o maor and minor triads hich utilize the oles o the hexatonic and hyer hexatonic systems to comlete the aggregate Examle 19 shos the original and the reerence side by side ith the climax o Heteroglossia

111 10 Examle 19: the to shos Koroski s Ancestral Voices (mm 11-1), hile the bottom shos the climax o Heteroglossia (mm ) eter aul Koroski Ancestral Voices Toronto: Canadian Music Centre (1997)

112 10 The last reerence in the ork is ound in the closing assage o Heteroglossia; the reerence is to George Crumb s Vox Balaenae hich as the irst maor ork to utilize the technique o the seagull eect This eect requires the layer to orm an artiicial octave harmonic and to kee the same shae in the hand hile the layer erorms a glissando don the string; the result o this technique is a series o ive descending harmonic glissandi at the same itch level While the original utilizes this eect in isolation (ie on one instrument), the reerence layers this eect in the strings (violini, violes, and violoncelli) to orm a comlex texture o descending harmonic glissandi Examle 20 shos the original as ell as the closing assage here this technique is utilized en masse ithin the strings George Crumb Vox Balaenae London: Edition eters (1971) Examle 20: the to shos Crumb s use o the seagull eect in Vox Balaenae, hile the bottom shos this technique layered in the strings in mm 1-9 o Heteroglossia

113 107 The utilization o these drastically dierent reerences demonstrates the use o heteroglossia in the ork There are many dierent languages being utilized: the Grisey reerence reects a Sectral aesthetic/language; the Schoenberg reerence reects a late-omantic aesthetic; the Lutosłaski reerence demonstrates microtonal clusters; the Stravinsky reerence in turn reects a neo-classical language; the Koroski reerence exhibits a 12-tone aesthetic; and the Crumb reerence makes use o extended techniques Thus, Heteroglossia reerences many distinct musical language tyes, the intersection o hich orm the narrative o the ork These dierent realms o sound contribute to the overall dramatic arc o the iece, uxtaosing dierent tuning systems, aesthetics, and techniques ust as in Bakhtin s ritings, here e ind contradictory hilosohical statements belonging to the various characters in the novel and a variety o seech tyes reecting social heteroglossia, there is an essential dialogue beteen the dierent languages utilized in the comosition I have exlored these various languages in revious orks, alays monologic in orientation, but ith Heteroglossia the oortunity resented itsel to see ho these dierent realms o sound interact dialogically The goal as not to seek out commonalities beteen these languages, but to embrace their dierences and to see ho they interact The resulting ork asires to narrate the evolution o my comositional style

114 108 Chater : I Narratology and Semiotics; II Conclusion 1 Chater, I Narratology and Semiotics The branch o musical analysis concerned ith narratology might be summarized as the eort to integrate structural and semantic-exressive asects o musical orks in the act o analysis by develoing concets caable o unctioning simultaneously in both domains 7 The concet o a musical lot need not be restricted to rogrammatic interretations o narrative While Heteroglossia exlores the concet o narrative it is essential that this narrative be understood as non-rogrammatic; ie it is best thought o as the integration o ormal and semantic content o the ork, rom individual motives to the entire iece, here the music s internal relations do not reerence some seciic extramusical source ut more exlicitly, the internal dramatic arc o the music is suicient to construct the narrative Gregory Karl rovides a deinition o musical lot as orks in hich: (1) some o its elements can be understood to reresent quasi-sentient agents and their actions, and (2) that the totality o such actions orms a comlete and coherent unity coextensive ith and inclusive o the entire musical unolding 8 Central to this concet is the undamental relation beteen human exerience and musical lots in hich the motives and themes behave as characters ithout the mediation o a narrator Musical agency and the internal relations o a ork can be comared to a stage drama in hich individual actions are erceived in the resent tense This comarison allos or an interconnection beteen the structure o a ork and its lot 7 8 Gregory Karl, Structuralism and Musical lot Music Theory Sectrum 191 (1997): 1 Ibid, 1

115 109 erhas one o the more inuential thinkers in the ield o semiotics is ean Molino Molino s ork on semiology is grounded in a critique o the timehonoured dichotomy o the obective ( analytic ) and the subective (the aesthetic or interretive) 9 His ork centres around the need to develo a general rameork o thought that can integrate the ragmentation o music in ractice, in theory, and under analysis There is a strong inuence o structuralism and generative linguistics on the alication o ne rinciles to traditional analytical roblems, in articular, the analysis o the aesthetic domain hich necessitates the develoment o ne strategies While the study o sound is a matter o hysics, the choice o sounds that are roduced is a matter o aesthetics Western art music has been rimarily concerned ith the rocess o rationalization and secialization, and e have adoted the theories o ythagoras and ameau as a means o understanding both acoustic roerties and the rinciles that guide the interaction o the acoustic henomena Molino cites Descartes Comendium Musicae as the break beteen the science o acoustics and music in hich Descartes stands by the traditional deinition as [t]he obect o music is sound Its urose is to lease and to arouse in us various assions 0 With this broad deinition o music, there remains the roblem o establishing a corresondence beteen the hysical roerties o sound, its itch, rhythm, and timbral comonents to the assions o the heart While 9 0 Ibid, 17 ean Molino, A Underood and Craig Ayrey Musical act and the Semiology o Music Music Analysis 92 (1990): 11

116 110 traditional analytical methods seek to categorize music through abstract theoretical, roortional, and obective means, there is need to establish theorems hich contribute to the realm o the mental state While the analysis o music can be dismantled into igures and musical acts, a codiication o intervals and rhythms, this does not exlain all the variables o music roduction An account o music s semiology rovides us ith another acet or level o understanding o the ork Music oten oerates in the realm o the symbolic; it may signiy concrete associations ith real orld henomena in hich it is concomitant to some extramusical association or exegesis, or exress more abstract exressive qualities Monelle notes that scientiic and emirical knoledge signiy symbolic henomena, in hich an understanding involves a descrition o the systems in hich they are embodied 1 These systems signiy a certain syntax and mode o exression, closely integrated into the realm o esthesic An analytical aroach oers both a technical study beteen the esthesic (hat is heard) and the aesthesic (hy it is beautiul) Since comosition is exible, music analysis must be as ell A rimary question hich concerns musicology is hat is music The anser to this question is rather ambiguous; the Western art music tradition codiies music in the canon, hile many cultures rely on imrovisation or even on musical games, such as Inuit throat singing When considering the oetic, esthesic, and aesthetic domains one can come to the conclusion that music is 1 aymond Monelle, Structural Semantics and Instrumental Music Music Analysis 101 (1991): 87

117 111 hatever (comosers or listeners) choose to recognize as such, and noise is hatever is recognized as disturbing, unleasant, or both The border beteen music and noise is alays culturally deined 2 This deinition rees the musicologist to exlore anything that seems musical An entirely emic aroach is not alays ossible, so the musicologist must reer to their on concetual rameork as a starting oint in understanding musics o all cultures In this vein, Nattiez addresses the roblem o inding musical universals to understand hat exactly deines music; hoever, any characterization o something as universal [deends] heavily on hich o the obect s traits are selected in a given analysis Musicological discourse and the musical obect it studies are both symbolic acts hich can be interreted according to semiological rinciles In analyzing the music o dierent cultures, even i the musical surace aears the same, the cultural context o the music roducers may have idely dierent ercetions o ho the music is created, thus universals can no longer be sought at the level o immanent structures, but in more roound realities These roound realities must take into account the rocess o roduction, as ell as the oetic, esthesic, and aesthetic ercetions o both the roducer and the listener In the search or universals there are certain musical acts hich e come to accet; acts such as the relationshi o the octave, the contours o a melodic line, and erhas most imortantly, the harmonic series All o these acts are 2 ean-acques Nattiez Music and Discourse: Toard a Semiology o Music Trans Carolyn Abbate rinceton: rinceton University ress, 1990: 7-8 Ibid, Ibid,

118 112 grounded in both hysical henomena as ell as in ercetion and cognition o music When it comes to the latter, Molino and Nattiez identiy three levels: 1 the oetic level, hich deals ith asects o the roduction o a iece o music This actors in everything rom the creative rocess to the act o notation or memorization (ith regards to oral traditions and imrovised musics) in reerence to the cultural milieu that inuences the comoser/musician; 2 the esthesic level, hich concerns the receiving end or consumtion o music and deals ith issues o music ercetion, interretation, recetion history, and cognition; and the neutral level, hich concerns the music itsel, ith the immanent conigurations o the trace, ie the end result o the oetic rocess (the score and/or sound obect) Nattiez states that the task o semiology is to identiy interretants according to the three oles o the triartition, and to establish their relationshi to one another The delineation o these three levels is o articular imortance to the analytical domains; it rovides a means o avoiding unnecessary conusion hen one makes inaroriate claims or one level o analysis based on the analysis o another level The trace that arises rom the neutral level rovides us ith a means o establishing asects o the oetic level, as ell as roviding ays o understanding the cognition, ercetion, and interretation o music concerning the aesthetic level or this reason, the neutral level is the centreiece o the hole semiotic rocess In order to avoid inaroriate claims or one level o oshua Veltman evie o: ean-acques Nattiez, Music and Discourse: Toard a Semiology o Music Seminar aer, 1999: 2 Nattiez: 29

119 11 analysis based uon another level, these three domains must be careully delineated or examle, one may undertake a structuralist analysis at the neutral level, but one must be careul hen alying claims to the oetic and aesthetic levels based uon this analysis unless one has exlicitly moved into these domains This three tiered analytical structure, reerred to as the triartition, aears to suggest a relationshi to communication theory here there seems to be a relationshi rom roducer to message to receiver 7 Hoever, Nattiez claims that semiology is not the science o communication 8 It is ar too simlistic to suggest the idea that the roducer encodes a message at the neutral level or the receiver, ho decodes this message and interrets some semantic meaning here there may not be one as such The listener is not a assive articiant in the rocess, as they construct musical meaning or him- or hersel based uon their on musical exerience and level o understanding Their observations may rovide ruitul interretations o the ork, but this has no bearing on the oetic level or intentions o the comoser/ roducer Traditional musical analysis tends to oerate in the realm o the neutral level, hoever, semiotics allos or an ecumenical mindset in hich every analysis has some validity ithin a certain ole o the triartition 9 A given analysis can never account or all the ossible variables ithin the triartition; the realm o the oetic and aesthetic allos us to understand humanistic asects hich are not ormalized, asects hich deal ith imressionistic analyses, Veltman: Nattiez: x,1,1 Veltman:

120 11 arahrases, and hermeneutic readings o a ork A structuralist analysis, on the other hand, rovides ormalized analyses hich are based uon models that are constructed rom observations o a given canon o music that yield certain models and comositional rules While the ork may be devoid o any associative extramusical meaning, this does not reclude semantic relations in the interretation o a ork aymond Monelle notes that [t]he science o semantics has travelled ar beyond the bounds o attributed meaning 70 Semiotics is more broadly concerned ith exlaining meaning in regards to relational henomenon here music is a cultural or social henomenon, deinable only in terms o its value held in a culture according to a quantitative, qualitative, and analytical interlay 71 Within this rameork, meaning in music is ascribed inormally, ith loosely deined terms and methods There are no abstract analytical rocedures, but there is a schematic theory o music as communication hich takes into account musical oetics and aesthetics There are numerous agents o interretation and the ercetual strategy intensiies the degree o mediation beteen the signiier and the signiied on a neutral level 72 This study o meaning encomasses all musical, theoretical, musicological, analytical, interretative, historical, and aesthetic comonents Monelle: 7 onathan Dunsby, Music and Semiotics: the Nattiez hase The Musical Quarterly 91 (198): ean Molino, A Underood and Craig Ayrey: 10

121 11 obert Hatten, a notable scholar in music semiotics, notes that [t]he neutral level is a theoretical antasy 7 because the analyst is unavoidably inuenced by their on aareness o the oetic and aesthetic levels, desite any attemts at rigour and ormalism urthermore, he notes that the neutral level may exist, but that the analyst, as a non-neutral observer o the iece is inuenced by their on biases regarding the realms o the oetic and aesthetic Hatten rooses a dierent ay o thinking o the neutral level, stating [s]ince the neutral level o analyses can roceed rom the hyotheses, and resumably those hyotheses are develoed ith attention to their otential [oetic] or [a]esthetic relevance, erhas a better term or Nattiez s neutral level ould be hyothetical level 7 This oignant criticism o Nattiez s theory has some merit, as there does seem to be a contradiction, or at least a tension that needs to be addressed, beteen Nattiez s recourse to immanent analysis and his statement that there can be no urely etic analysis 7 egardless o this criticism, Nattiez s theories rovide a means o examining music at multile levels, and [b]ecause it is a rogram or analysis, semiology takes u [various musicological] questions, and attemts to anser them ith control and [rigour] - but not, o course, deinitively 7 Nattiez clearly delineates the limitations and beneits o semiological analysis hen he rites: 7 obert Hatten evie o: ean-acques Nattiez, Music and Discourse: Toard a Semiology o Music Music Theory Sectrum 11 (1992): Ibid: 9 Veltman: 11 Nattiez: 178

122 11 All analysis ith a semiological orientation should, then, at least include: (a) a comarative critique o already-ritten analysis, hen they exist, so as to exlain hy the ork has taken on this or that image constructed by this or that riter: all analysis is a reresentation, (b) an exlanation o the analytical criteria used in the ne analysis, so that any critique o this ne analysis could be situated in relation to that analysis s on obectives and methods Making one s rocedures exlicit ould hel to create a cumulative rogress in knoledge, and consequently the emergence o an analytical discourse that ould be more satisying, because it is more controlled 77 At the oetic level, Heteroglossia (Novella or Orchestra) exlores a musical narrative hich uxtaoses sectral, 12-tone, and late-romantic aesthetics The intention o the comosition is to integrate these seemingly disarate musical aesthetics into a uniied hole Each chater o the ork exresses, in turn, a reracted musical narrative based on either sectral, 12- tone, or late-romantic aesthetics The musical lot is non-rogrammatic, ie there is no extramusical meaning ascribed to the comosition, this does not, hoever, reclude a oetic meaning or the ork The ork exresses its semiosis through the lens o absolute music, and the listener is invited to interret the music ith their on rocesses o signiication and semiosis My iece is constructed as absolute music, but this does not reclude a semantic or semiotic meaning to the ork My on interretation o the orks semiosis is that it is grounded in a dialogue o similarities and dierences beteen the disarate sections ith hich it as constructed I don t ascribe meaning to the individual motives and gestures ound the iece, but rather to the overall structure and aect o the ork What I seek to exress is a tension 77 Ibid: 177

123 117 beteen the languages, aesthetics, techniques, and tuning systems utilized, a tension that has no resolution Steven aul Scher outlines methodological guidelines or study o the intersection o music and literature hich include: (1) Metahoricity, hich accets and embraces the attemts to aly terms rom one art to obects in another as being inherently metahorical in status; (2) Cognitive Dissonance, hich romotes surrise and cognitive dissonance, over aroriateness or adequacy as the rimary criteria o value hen studying analogies o the ritten ord and music; () Dee Structures, hich emhasize the search or underlying rinciles beteen the arts, not the descrition o direct one to one corresondences; () De-essentializing the Arts, hich reers to the ability o the analogous art orms to both reconigure and deeen our understanding o the arts and their various roles hile resisting the temtation to orce them to it established deinitions (regardless o ho idely they are acceted); and () ocus on Signiicance and Imlications, hich outlines ho analysis should alays be guided by broader cultural questions o meaning and value, ie hy do the analogies o music to literature and literature to music matter 78 Cuers notes urther that music and literature are [c]osmologically connected [as] they have also been inextricably mixed u throughout their history, and that the degrees o metahoricity may vary idely but or ractical uroses the very rocesses o reading a text and reading a score can 78 Steven aul Scher, Melooetics evisited: eections on Theorizing Word and Music Studies Eds Walter Berhnhart, Steven aul Scher, Werner Wol Word and Music Studies: Deining the ield roceedings o the irst International Conerence on Word and Music Studies Amsterdam: odoi (1999): 11

124 118 be shon to be quasi-identical 79 In a similar vein, Hayden White exands uon this idea hen he rites in Music and Text o the eort to exlicate a relationshi o similarity and dierence beteen musical and literary exressions, suggesting that e live in a cultural time hen literature is striving toards the condition o music hile at the same time music has been striving or the condition o language hich allos us to consider aresh the musical asect o verbal exression, on the one hand, and o the extent to hich a semantic content, similar to that igured orth in literary exression, might be said to inhere in musical orm, on the other 80 Heteroglossia exlores this connection beteen literary text and musical orms o exression It s genesis as conceived as a narrative in hich the comonent arts that orm the hole can be vieed as characters, each o hich exresses my reracted intentions The semiotic meaning is not intended to reresent concrete, extramusical associations, but rather invites the listener to interret the orks semiosis in their on ay The use o vastly dierent techniques and aesthetics elicits varying emotional resonses to the material resented, and it is my hoe that the listener can engage the various strata o the ork on their on terms 79 Cuers: 1 80 Hayden White orm, eerence, and Ideology in Musical Discourse," in: Music and Text: Critical Inquiries, edited by Steven aul Scher, Cambridge: Cambridge University ress, (1991): 289

125 119 2 Chater II: Conclusion There are many inuences hich insired the genesis o Heteroglossia rom the use o the ibonacci series and the Golden roortion to structure the ork, the use o microtonal variance based uon the harmonic series, the use o neo-iemannian triadic transormations, the reerence to Bakhtin s theories on narrative, the introduction o semiotic content and narratological theories o music, and to the dialogic reerences to ast orks The ork can be understood only as the intersection o all o these inuences, creating multile strata or the interretation o the ork Heteroglossia is unique in relation to the traditional, monologistic orks hich reresent the canon o Western Art Music Although the ork can be vieed as a nascent eitome o olystylism in the tradition o Alred Schnittke or Valentin Silvestrov, it is the concetion o the ork as a narrative that sets it aart rom these models The inuence o Bakhtin s theories on literature as alied to music layout the concetual oundations o the comosition, orming a unique intersection o dierent languages and aesthetics Thus, the ork is an exemlar o dialogism, ith its acets o narrative olyhony and heteroglossia, o semiology and narratology, o the borroing o other s language and aesthetics to create the hole My intentions as the comoser are reracted through the inuence o all these categories and signiiers; the ork is an unique utterance o concetual oundations hich are alien to one another yet bound ithin the hole This comosition reresents my irst stes in the synthesis o a ne musical utterance, o an internal dialogism hich reects the structure o the ork, o its concetualization, reraction, and uxtaosition o many distinct voices

126 120 and languages, aving the ay or uture comositions hich ill continue to develo these internal ideologies The listeners are, o course, invited to interret the comosition in their on ay; it is unlikely that their ercetion o the ork ill arallel my concetion o it, but it is my hoe that I oer in this aer a glimse into the inner orkings and concetualization o the comosition As Bakhtin rites in his conclusion to Discourse in the Novel great novelistic images continue to gro and develo even ater the moment o their creation; they are caable o being creatively transormed in dierent eras, ar distant rom the day and hour o their original birth 81 Thus, I elcome the ercetions o others to account or the comosition s inner orkings, and by no means do I erceive this account o the comosition as authoritative 81 Mikhail Bakhtin and Michael Holquist: 22

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135 129 Aendix erormance Notes (or arts) Glissandi are to be erormed or the entire duration o the note = Gradually Shit rom One Mode o laying to Another Strings ST S ES Sul Tasto Sul onticello Estremamente Sul onticello: as Close to the Bridge as ossible N Normal; eturn to Normal Boing (String Name/artial) When natural harmonics are utilized, the string name and artial are rovided Ex (C/11) indicates the 11th artial on the C String When natural harmonics are utilized, the string name and artial are rovided Ex (C/11) indicates the 11th artial on the C String Woodinds

136 10 Microtonal Notation Heteroglossia makes use o microtones to tune the artials o the harmonic series o various undamentals The olloing chart illustrates the accidentals used throughout the comosition to aroximate the artials: A semitone equals 100 cents, a 1/ tone equals 0 cents, a 1/ tones equal 0 cents, etc When these microtones are used, the erormer can adust their tuning to aroximate the artials o the harmonic series, this is achieved through alternate ingerings, embouchure tuning, laying artials as harmonics, and tuning the artials on the strings