Numerology: Expressed in phrase lengths, note groups, durations, repetition patterns, etc
Musical instrument stores, Drum store, guitar store, playing music, instrument shop Here is a deconstruction analysis for Black Angels Such as hissing, whispering, tongue clicking, and shouting at specified points in the composition Many of settings for vocal music came from the poetry by Federico Garcia Lorca Such as: Song cycle Ancient Voices of Children (1970) Black Angels (1970)Ĭrumb has made us think about time and sonority in new ways and has forged contemporary links between music, sentiment, and ideas, without the off-putting philosophical and conceptual verbiage in which many fine composers have sought justification and refuge Frequently his forms were palindromic (they read the same forwards as backwards, such as ABCBA), and overall structure that is supported by sections written in “circular notation” (whereby the staff is in the shape of a circle).Ĭrumb was known for his innovative techniques in the use of vivid sonorities obtained from an enormous range of instrumental and vocal effects developed an immediately recognizable style based on the coloristic potential of instruments and voices, evoking mystery, sensuality, and great spatial dimension. Abstract forms did not play an important part in organizing even those works not built on the framework of a text. Microtones, though used, did not have structural significance, as when the double strings of the mandolin are tuned one-fourth tone (the notes between adjacent keys of the piano) apart in Ancient Voices of Children to add pungency to the sound. These include banjo, mouth harp, harmonica, electric guitar, water glasses, and Tibetan prayer stones.Ĭrumb’s music was largely freely ordered and non-tonal. This coloristic basis also allowed the easy assimilation of folk, popular, and non-traditional instruments into his palette. Playing the violin and other stringed instruments “bottle-neck style” (that is, with a glass rod or tube on the fingerboard) playing directly on the piano strings, often with thimble-capped fingers and dropping a light metal chain on the piano strings so that the strings, when sounded, will vibrate against it. The singer, too, was asked to produce non-traditional sounds and phonetical vocalizations, sometimes based on parts of a text, and often requiring great virtuosity.įor the most part, Crumb’s sounds were produced acoustically, though with use of amplification to increase timbrel variation and to REFINE dynamic gradation.
Some of the more arresting effects are achieved in the following ways: striking a gong while lifting it in and out of a bucket of water (called the water gong) His influence on modern today is historic. One of the most original, profound, and important composers in all of 20th- century Meeting George Crumb for the first time, one might not guess that one was meeting Although Crumb listed Debussy, Mahler, and Bartók as being his principal musical influences, the works themselves suggest far broader origins.
An extremely well-integrated eclecticism characterizes Crumb’s mature works after the early 1960s. He was also inspired by the popular and religious music of his native Appalachia (this remained in his mature compositions) His mother was also a cellist He played the piano by ear at young age (9 yrs old) An extremely well-integrated eclecticism characterizes Crumb’s mature works after the early 1960s. Motivated by his father who was a clarinetist and bandleader His style is noted for its haunting timbres and exploration of avant-garde sound. studied music at the UNIVERSITY of Michigan and began teaching at the University of Pennsylvania in 1965.
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