Techniques which may create or be used with sound mass include extended techniques such as muted brass or strings, flutter tonguing, wide vibrato, extreme ranges, and glissandos as the continuum for "sound mass" moves from simultaneously sounding notes – clusters etc., towards stochastic cloud textures, and 'mass structure' compositional textures which evolve over time.[2] In a sound mass, "the traditional concept of 'chord' or vertical 'event' [is] replaced by a shifting, iridescent fabric of sound".[3]
The use of "chords approaching timbres" begins with Debussy, and Edgard Varèse often carefully scored individual instrumental parts so that they would fuse into one ensemble timbre or sound mass.[4] Explored by Charles Ives and Henry Cowell in the early part of the twentieth century, this technique also developed from the modernisttone clusters and spread to orchestral writing by the mid 1950s and 1960s.[2] "Unlike most tonal and non-tonal linear dissonances, tone clusters are essentially static. The individual pitches are of secondary importance; it is the sound mass that is foremost."[5] One French composer active in this period whose music takes a sound-mass approach directly influenced by both Debussy and Varèse is Maurice Ohana.[6]
Examples
Examples can be found in Metastasis (1953–54), Pithoprakta (1955–56), and Achorripsis (1956–57), all orchestral works by Iannis Xenakis,[7] as well as in Gesang der Jünglinge for concrete and electronic sounds (1955–56), Zeitmaße for five woodwinds (1955–56), and Gruppen for three orchestras (1955–57), by Karlheinz Stockhausen.[8] Other composers and works include Barbara Kolb, Pauline Oliveros' Sound Patterns for chorus (1961), Norma Beecroft's From Dreams of Brass for chorus (1963–64), and Nancy Van de Vate. Beecroft "blurs individual pitches in favor of a collective timbre through the use of vocal and instrumental clusters, choral speech, narrator, and a wash of sounds from an electronic tape".[2]
Edwards, J. Michele (2001). "North America since 1920". In Women & Music: A History, second edition, edited by Karin Pendle. Bloomington: Indiana University Press. ISBN0-253-21422-X.
Reisberg, Horace (1975). "The Vertical Dimension". In Aspects of Twentieth-Century Music, edited by Richard DeLone and Gary Wittlich. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN9780130493460.
Salzman, Eric (1987). Twentieth-Century Music: An Introduction, third edition. Prentice-Hall History of Music Series. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN0-13-935057-8.
Stockhausen, Karlheinz (1963). "Erfindung und Entdeckung". In his Texte zur Musik 1, edited by Dieter Schnebel, 222–258. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
Further reading
Kohl, Jerome (2017). Karlheinz Stockhausen: Zeitmaße. Landmarks in Music Since 1950, edited by Wyndham Thomas. Abingdon, Oxon; London; New York: Routledge. ISBN978-0-7546-5334-9.
Xenakis, Iannis (1992). Formalized Music: Thought and Mathematics in Composition, second, expanded edition. Harmonologia Series No. 6. Stuyvesant, New York: Pendragon Press. ISBN1-57647-079-2. Reprinted, Hillsdale, New York: Pendragon Press, 2001.
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