How The Traditional Compositional Devices Used To Demonstrate A Vast Change To Traditional Conventions

In the period from 1945-1990, composers demonstrate a vast change to the traditional conventions that are built from traditional conventions in their work. The breaking away from the compositional devices traditionally used originated from the broad variety of the concepts of music that become part of ‘the music of the next century’. These concepts created unconventional features, used to investigate new formations in composers works.
These new unconventional and traditional compositional devices that are investigated in this era can unmistakably be seen in ‘The Monk and His Cat’, Hermit songs, Op.29: No.8, for vocal and piano, Composed by Samuel Barber, ‘Images 4 and 5’ of ‘Black Angels: Thirteen Images from the Dark Land’, for the electric
string quartet, Composed by George Crumb and various other works from this time period. Music in the 20th century changed dramatically, due to the hostile political climate, advances in technology, and huge shifts in style. Composers have explored new possibilities, maintaining musical conventions from western traditions and combining new unconventional features to originate individual sounds and interests in their works.
Modern composers explore the new possibilities in pieces by including unconventional composition devices to their notation in their works. This determines new ways of including untraditional ways to compose musical ideas, conveying the melodic directives and expressive techniques. For composers to be able to create variation in their works, they need to discover original conventions they can include in their scores to demonstrate and communicate their musical ideas. This is important because the musical interpreter needs to realise their connection and role in the realisation of the composer’s intentions.
The performance markings, that complement the written notes are clearly visible in the duration of Barbers ‘Hermit song No8.
The Monk and His Cat’. At the beginning of the piece, Barber has chosen to abandon the time signature and unclearly state the rhythm (see figure 1). He ignores the metre throughout the piece, and seems to be fluctuating beats freely, per measure to follow the accents of the text. This is represented when the key changes pitch from A minor to F sharp major in bars 27-29 (see figure 2). The piano shifts many different time signature throughout the song. This is another example of the duration markings in the score which are a significant aspect of the untraditional musical compositions of the period as all the concepts become equal. Corresponding to this ‘Black Angels: Danse macabre’, composed by George Crumb, also lacks a time signature but uses the untraditional numerology throughout the score to indicate the Pitch and Duration of rhythms (see figure 3). The score contains numerous references to the numbers 7 and 13. These ‘fateful numbers’ are highlighted by Crumb to create a nightmarish manner, reflective of the ‘Dark Land’ responding to the conflict of the Vietnam War and the questioning of cultures and religions, such as Christianity, up until the 1970’s. These concepts are earlier represented in the beginning of the piece where Crumb expresses techniques via symbols breaking conventions to more simply inform the performer how to interpret the piece. He uses a zigzag line to denote the wide vibrato to be played on the violin (see figure 4). Instead of indicating pitch and expressive techniques on the stave Crumb uses an asterisk to inform the performer to gradually increase their bow pressure until pitch becomes pure noise. This is indicated in a key at the bottom of the page (see figure 5) to instruct the performer
effortlessly and more effectively. An example of a musical composition in the 1930’s, Sorabji’s Opus Clavicembalisticum uses alternative expressive techniques. This piece contains various devices that are an unusual representation of conventional western musical notation. There is an extraordinary long slur in the middle of the piece that has a total of 10 inflection points across three staves (see figure 6). This expressive device is highly unconventional and is the of the beginning of breaking away from conventions in the period. 20th Century Composers have shown in these examples, the new possibilities that are formed by the use of available musical composition devices, Duration, Pitch and expressive techniques, which allowed the Composers to break away from tradition and expand their musical capabilities with further creativity and imagination.
Late 20th century composers were not only influenced by new possibilities, but built upon western traditions and music forms of the past. These original concepts were consistently used throughout music from the beginning of time. Composers are continually maintaining these musical conventions in there works, demonstrating common notions in their piece maintaining the musical context and authenticity. Traditional conventions are directed by tonality, pitch and structure in composers works. This is signified in ‘The Monk and His Cat’ where George Crumb uses several musical devices in bars 8-9 illustrating the medieval monk by using parallel fifths and open harmonies in the left hand of the piano (see figure 7) . These consecutive fifths are highly traditional and typically used to evoke the sound of music in medieval times or exotic places. The structure of this piece is highly conventional as it is in Rondo form (ABACA). The section A is the opening phrase and the beginning of the verse, B is the catlike dissonances and C contrasting material (see figure 8). This music has been reaffirmed from past repertoire where the musical material stated at the beginning of the piece keeps being repeated.
The musical devices used in George Crumbs ‘Black angels’ are highly traditional as they are maintained from past works. Examples of expressive techniques maintained throughout the work include pizzicato, arco, harmonics and glissandos (see figure 9). Although the structure of this piece doesn’t exist there are still many things that composers utilise in their works to maintain conventions of the past to expand their capabilities. In the ‘Fanfare for the common man’ tradition is kept by Aaron Copland in the variety of instruments he takes advantage of. Written in response to a speech made in WW2, 1942, proclaiming the dawning of the "Century of the Common Man”, the conflict that brought on this piece helps Copland both break and maintain musical conventions. The tonality is represented by the trumpets soloing throughout the piece having the symphony orchestra fill in the texture of the piece (see figure 10). This is traditional because all fanfares are conventionally played by brass instruments and percussion.
The increase in technology throughout the 20th century had a major impact on the conventions in musical composition’s improving throughout history. Composers were more willing to experiment with new music forms, taking advantage of the resources and technology that were available to them. Existing technologies were improved upon and new inventions were made, such as the radio, television, recording devices and computers. Both new and old musical themes were now explored and expanded upon by composers. Unique instruments were added to compositions, making the tone colour of the 20th century music richer and more interesting.
Electric instruments were advancing in the mid 1900’s and George Crumb uses them in an unconventional way in his composition ‘Black angels: Devil Music’. At the beginning of the piece Crumb instructs the performer to use Electric Violin and states ‘Vox Diaboli’ meaning Devils voice, this affects the tone colour, shaping the piece differently which is unconventional from previous times (see figure 11). This is associated to Satan/ Devil in western culture who plays is represented playing the electric violin. After the ‘Dies Irae’ the solo violinist has 7 down bow strokes notated to be ‘modo ord. mortell’ meaning unusual hammered stroke at the nut of the bow, additional to this the dynamic level is fortississimo with harsh accents and an accelerando (see figure 12). This extensive unconventional use of the electrical instrument expresses the many unpredictable techniques composers could use at this time of discoveries.