On Timbre And Texture In The Music Of George Crumb

One of the most distinctive differences between modern music of the 20th century and traditional music prior to the 20th century is acoustics, upon which a decisive influence is exerted by several key elements that indispensably include timbre and texture. Therefore, the two elements have received great attention of the composers in the 20th century.Timbre and texture hold an outstanding position in Crumb's creative idea. The main subject of this article falls on the application of the timbre and texture in Crumb's music. In line with the creative spirits of Crumb's, the article proceeds the demonstration from the fundamental variable techniques of timbre and texture. Through, first of all, a comparative analysis of their functions in the musical cells (which are supposed to be pieces that are typical and regular in the compositions, have dominant meanings and the possibilities to develop, and play a definite role in the construction of the whole compositions, or reappear time and again, or reappear in a variable way), then based on the analysis a further study of their functions in the larger musical cells, some key sectors or sections, and even the entire construction, and at last a comprehensive analysis of two complete compositions, the macro conclusion of Crumb's unique musical style and characteristics has finally been reached.This article presents a thorough study and demonstration in particular of the timbre and texture in Crumb's music, which is quite different from other articles concerned.1. Timbre: to quantify its timbre into to types of variable degrees — quantitative variation and qualitative variation.2. Texture: in Crumb's music, balance and imitation, two basic techniques in tenor, are not left unemployed although under many circumstances the parte appears simply to create a sort of tone and the represa, replacement and repetition of the parte actually play a more important role than the parte-writing. Other than, solo in monotones holds a great portion in the music. Therefore, in this article texture is dealt with separately in two types: mono-texture and poly-texture.3. Two main threads (An analysis in detail of the timbre and texture on the basis of technical characteristics in composition.)(1) In the form (from big to small),when dealing with the music on the whole by starting from the general to the particular. As we know, there is a saying that "Look at one spot on a leopard and you can visualize the whole animal". However, this article first approaches "the animal", and then "the spot". The analysis goes as follows: first, all the "spots" with distinctive features picked out from every piece touching by the article; then, one specific key "spot", such as the enchainez and transition of the music; at last, by using the generalized pattern, certain piece in great detail.(2) In the form (from small to big), when in very terms of the length of every score cited. First of all, when a sampling analysis is given to the scores which are typical in the music, the passages cited always tend to be those much shorter in length(Chapter 2). Then, the major sections of the music are dealt with, such as bridges and climax passages, and the scores cited become relatively greater in length. In the end comes the longest scores as a comprehensive analysis of some complete passages is made.4. Among Crumb's ever-changing techniques of composition, a set of regular patterns is first found out and then generalized systematically and briefly.Rather than an analysis or introduction confined to kinds of phenomena in the music, an organic link is properly laid among the musical phenomena which are different from one another and independent respectively, but support one another as well. For instance, when it comes to the contrast of compass, the article proves it from all sides of timbre and texture by illustrating the echo and imitation of the lower ranges to the higher ranges, which is closely related to the compass and texture.5. When the analysis of all the scores get refined, Crumb's distinctive characteristic is finally touched.On the principle basis of supposing with boldness and proving with rigorousness, the master's creative intention composing process are deduced in an objective way.Illustrations cited in great number are all selected from the most brilliant pieces of the music and demonstrated in simple terms with the intention that they would be of great practical reference value.