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You are going to see a hypothetical concert program note which may or may not exist
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Programs served:
1. Schoenberg: Piano Suite, Op. 25, Prelude and Minuet and Trio
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1. Schoenberg: Piano Suite, Op. 25, Prelude and Minuet and Trio:
Arnold Schoenberg (1874-1951) was an Austrian, later American, composer and music
theorist. He was associated with the expressionist movement and a lot of his works are
featured with Twelve-tone Technique, which was applied to eliminate any possible tonal
feeling in the transitional Western classical and romantic music by arranging the 12 tones in
some particular orders. Those specific arrangements will blind audience’s ability to identify a
key or tonal center as they are designed to give as less emphasis on any particular note as
possible. For example, one of the most often used ways of realizing such music is serial
treatment, where composers write a row of notes with various intervals that do not follow any
tonal function (say, A-D#-Gb, which is combination does not exist in any key), and then it
will be transposed to different pitch while remaining the relative intervals the same (say,
This piece, from Piano Suite Opus 25, which was the composer’s first 12-tone composition
written between 1921 and 1923, was an interesting example of the 12-tone composition as it
does not follow the serial treatment, but also mocks the counterpoint technique, which is a
typical composition technique used in traditional Western music. However, not like a canon
or fugue, the rows, or subjects in this case, are barely identifiable. And therefore, it achieves
an irony of being well-organized on paper but sounds totally destructed. Yet this is the point
of being an expressionist, who distorts the daily mundane materials into some novel shapes
and thereby refreshes our notion of what they actually are, and hopefully trigger even deeper
John Cage (1912-1992) was an American Avant-grade composer who was a pioneer of
indeterminacy in music. This piece is written for prepared piano, which is, interestingly,
normal piano being modified in one way or another that there are changes in its sounds or
technique, steps further to explore the possibility of music as sound and how it is
perceived.
In this particular piece, the strings on piano is interrupted by iron nails, and the sounds
turn to very alien to audience. By doing so, it blurs the boundary of music itself and the
sounds it makes, and at the same time removes composer’s subjectivity, as there is a
disconnection of the music written and the way it is reazlied (even though it is also done
intentionally). This makes a piece hard to be categorized and thereby it is left to the
Again, this is a further step to explore the possbility of music itself as pure sounds and to
what extent audience still perceive such sounds as music. Though things are going here
are very abstract, but certainly there is a purpose behind of those experiments and hence a
logical flow is leading to such a purpose. This offers us a good reference of how to
music. Her famous work was the music made for the TV series Doctor Who, where she
applied tape manipulation using advanced technology available at the time to make
various sounds. Another feature is that the music comes out along with the visual aids,
that is, the audience will simultaneously perceive both sounds and images and detect the
connections between these two elements. For this particular piece, every note has to be
created as a separate piece of tape. Each piece was then cut together to create the rhythm
and the melodies. There was no multi-tracking at that point, so the final mix was done by
playing back the various pieces of tape together and hoping it would stay in sync from
start to end.
This manticulation again is not the transitional way of writing music, and by doing so it
assumes that highly-intellectually organized sounds can be perceive as music as it has the
effect to impact on people’s moods and trigger emotional response, though sometimes
this could be only more obvious with other tools of realizations, such as visual aids.