Day Ten--Ravel, Schenkerian analysis, 12-tone

Before discussing a couple of composers and their musical language, it is necessary to take a few minutes to look at music a little differently. Although slow in embracing its concepts, I now subscribe, although not in its totality, to the Schenkerian approach to understanding a piece of music. Using a process of prolongation and reduction, we determine the foreground, middleground, and background of a piece of music. This then allows us to know the skeletal structure of work which then points us to the musical goals. Although absurd, in its extreme we determine that Beethoven's 3rd symphony is reduced and prolonged to an E flat major chord. In a odd way, this is also profound. I urge you to use whatever piece or song you are performing and think of its skeletal structure, finding new insights into the piece and applying performance principles to the composers ultimate intent. It can alter your own view of music and give you a higher sense of musical goals.

A brief look at the marvelous composer Maurice Ravel, and I was once again struck by his genius, his creativity, and mostly his commitment to musical excellence. Every piece he wrote is a gem, worth hearing, difficult to perform, emotionally charging, and shimmering with energy. In addition, he was one of the great orchestrators of all time as demonstrated in Pictures at an Exhibition. Ravel's language is that of neo-classicism, impressionism, modality, tonality, and layers of sounds. We enjoyed hearing Pavane, Bolero, and portions of Toccata for piano.

Our brief discussion on functional versus non-functional harmony took us to a new understanding of why composers began to seek out other forms of musical expression. Does a 7th chord have to resolve to the tonic? Are there appropriate uses of parallel fifths or unprepared modulations or equality of pitch? Can planing or the breaking of the harmonic series have purpose? Does all music have to be in Sonata-Allegro form? Is there a place for other instruments or sounds in music? What is music?

All these questions and more shaped and continue to shape the music of today. As we continue to learn the details of composers, their languages, their influences, and way music is put together, keep in mind that we are expanding the definition of excellence in music. This includes the use of 12-tone music as a form of creating new music in a marriage of precise order and musical emotion. We took a superfluous look at the essential elements of 12-tone music including its rationale, its design, and some examples. A brief overview of Schoenberg, Berg, and Webern accompanied our discussion that led us to a look at computer generated Matrix. More on this as we delve into this 12-tone world.

So honestly folks, what kind of music do you prefer? What is the first thing you hope to hear when you get in your car? I am just curious--no wrong answers are possible!