Tracing the Development of Extended Vocal Techniques in ...

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LIST OF FIGURES vii Page Figure 1 “Nacht” from Pierrot Lunaire (1912), mm. 9-11 ............................................. 51 Figure 2 The first measures of Nov. 2. 1920 (1922) ....................................................... 52 Figure 3 Charlie Rutlage (1920), mm. 21-25 ................................................................. 53 Figure 4 A Flower (1950), mm. 34-37 ........................................................................... 54 Figure 5 Preface material from A Flower (1950)............................................................ 55 Figure 6 Symbols from page 1 of Cage’s Aria (1958).................................................... 57 Figure 7 A portion of Berio’s Sequenza III (1966), pg. 1 ............................................... 58 Figure 8 Stripsody (1966), from pg. 4............................................................................ 59
CHAPTER I INTRODUCTION “The pathetic condition of the world today is that humanity is bored with the old, and is not ready to accept the new.” 1 Making reference to modern music, the declaration made by Adolph Weiss (1891-1971), the first American student of Arnold Schoenberg (1874-1951), and teacher of John Cage (1912-1992) reflected the acceptance or lack of acceptance of the new sounds emerging from twentieth century Western art music. Much of the modern music was initially shocking to many of its listeners while simultaneously gratifying those ears desiring more than just the common sounds of conventional techniques and compositions. The new aural freedom erupting from the stress of a rising modernism served as a dissolvent to the rules and conventional practices of previous eras challenging the standard compositional devices and opening a gateway into an un- chartered sonic terrain. During this time, Western art music was transforming into a new creature, shifting away from the established approaches of past eras and bringing about new sonic concepts, though not only through nontraditional uses of melody, harmony, rhythm, form and notation. The new aesthetics also affected the instruments and voices that gave sound to the imagination of the composers. Furthering the philosophy of change of many post- 1938): 29. 1 William Treat Upton, “Aspects of Modern Art-Song,” The Musical Quarterly 24, no. 1 (Jan., 1
Page 1 and 2: CRUMP, MELANIE AUSTIN. D.M.A. When
Page 3 and 4: To Dr. Robert Wells, Mr. Randall Ou
Page 5 and 6: ACKNOWLEDGEMENTS I would like to ex
Page 7: Bethany Beardslee (b. 1927) .......
Page 11 and 12: capabilities as it pertains to voca
Page 13 and 14: CHAPTER II REVIEW OF LITERATURE Alt
Page 15 and 16: any historical information. As prev
Page 17 and 18: twentieth-century performance pract
Page 19 and 20: experimentalism, the country’s mu
Page 21 and 22: abstraction by deliberately obscuri
Page 23 and 24: Schoenberg (1874-1951) provided the
Page 25 and 26: industrialization. Therefore, an at
Page 27 and 28: e. Additionally, the influx of immi
Page 29 and 30: sound, resulting in new sonic uses
Page 31 and 32: Sprechstimme by combining both spee
Page 33 and 34: world, overthrowing the reflective
Page 35 and 36: shifted towards the philosophy of d
Page 37 and 38: propagated by the cosmopolitan of t
Page 39 and 40: which held tightly to bel canto, li
Page 41 and 42: Vocal Implications: Dadaism and Sur
Page 43 and 44: of the Surrealist movement. As Anha
Page 45 and 46: and Futurism presented the world wi
Page 47 and 48: purest form. His work with the huma
Page 49 and 50: Berio’s compositional goal was
Page 51 and 52: at a modern ballet recital and expa
Page 53 and 54: States, including such composers as
Page 55 and 56: Galas first worked with extended vo
Page 57 and 58: CHAPTER IV NOTATION AND PERFORMERS
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Figure 1: “Nacht” from Pierrot
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Figure 3: Charlie Rutlage (1920), m
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Figure 5: Preface material from A F
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Figure 6: Symbols from page 1 of Ca
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Figure 8: Stripsody (1966), from pg
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during the blossoming of EVTs. Both
Page 71 and 72:
who hears sounds will try to find a
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captivated audiences across the glo
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The curiosity and exploration paid
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she continued to perform with the v
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emotions and ideas, Monk has succes
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instruments and the development of
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The great inventions and the indust
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The virtuosic voice of Cathy Berber
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BIBLIOGRAPHY “A New American Comp
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_______. The 21 st -Century Voice C
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Morgan, Robert P. Twentieth-Century
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APPENDIX A PREFACE TO SCHOENBERG’
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APPENDIX B PERMISSIONS FOR USE The
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