![2018 Undergraduate Research Conference](../../../../assets/md5images/e1231cc790370005815700ce92b2b7e3.png)
Music
Motivic Development through Metric and Graphic Notation in Stockhausen's Klavierstücke
Document Type
Oral Presentation
Location
Indianapolis, IN
Subject Area
Music & Dance
Start Date
13-4-2018 11:00 AM
End Date
13-4-2018 11:45 AM
Sponsor
Nicholas Johnson (Butler University)
Description
In his composition fundamentals book, Arnold Schoenberg wrote that, “Consciously used, the motive should produce unity, relationship, coherence, logic, comprehensibility and fluency.” In his many academic writings about composition and theory, Schoenberg says that the use of motivic variation requires a balance of moderate change so the manipulated segment is still coherent. In addition to studying and describing Brahms’s developing variation, Schoenberg also created a new system of serializing all 12 pitches, and set the trend for serial music that many composers still utilize today. While composers use serial techniques of note selection and even serialization of other musical aspects like articulation and dynamics, some composers have developed methods of notation to reflect motives. I contend that in his Klavierstück IX and X, Stockhausen utilizes unique extended notational techniques to manipulate motives that make them more clear to the performer, and make the motivic development more apparent to the listener. Although a close examination of pitch collections might reveal to the performer important motives that can inform things like phrase shaping and bringing out important lines, Stockhausen’s use of extreme meter can help connect different sections for the perform, and in turn make them more clear for the listener. Additionally, unconventional use of graphic notation shows connections and relationships between motives that may have otherwise required close analysis, or been missed altogether. My research of these works clarifies the techniques and their proper usage for composition and analysis.
Motivic Development through Metric and Graphic Notation in Stockhausen's Klavierstücke
Indianapolis, IN
In his composition fundamentals book, Arnold Schoenberg wrote that, “Consciously used, the motive should produce unity, relationship, coherence, logic, comprehensibility and fluency.” In his many academic writings about composition and theory, Schoenberg says that the use of motivic variation requires a balance of moderate change so the manipulated segment is still coherent. In addition to studying and describing Brahms’s developing variation, Schoenberg also created a new system of serializing all 12 pitches, and set the trend for serial music that many composers still utilize today. While composers use serial techniques of note selection and even serialization of other musical aspects like articulation and dynamics, some composers have developed methods of notation to reflect motives. I contend that in his Klavierstück IX and X, Stockhausen utilizes unique extended notational techniques to manipulate motives that make them more clear to the performer, and make the motivic development more apparent to the listener. Although a close examination of pitch collections might reveal to the performer important motives that can inform things like phrase shaping and bringing out important lines, Stockhausen’s use of extreme meter can help connect different sections for the perform, and in turn make them more clear for the listener. Additionally, unconventional use of graphic notation shows connections and relationships between motives that may have otherwise required close analysis, or been missed altogether. My research of these works clarifies the techniques and their proper usage for composition and analysis.