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N81
FOREVER'S SILENT SONG
FOR
CHAMBER ORCHESTRA
AND
MEZZO-SOPRANO
THESIS
Presented. to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Lisa A. Webb, B.M.
Denton, Texas
August, 1986
Webb, Lisa A., Forever's Silent Song for Chamber
Orchestra and Mezzo Soprano. Master of Music
(Composition), August, 1986, 65 pp., 11 illustrations.
This work is a setting of two poems by E.E. Cummings
for chamber orchestra and mezzo-soprano soloist. The
approximate durations of the first and second movements are
respectively seven and one half, and six minutes. The
music was inspired by the poetry and attempts to highlight
the cyclic syntax which hallmarks Cummings' style.
The first poem ("pity this busy monster,
manunkind,") presents a sarcastic analysis of the progress
of society. The compositional techniques used in the first
movement involve elements of ostinato and fragmented
motivic development to punctuate the penetrating message of
the poem. The second movement ("these children singing in
stone a") offers a marked contrast in texture and is a
peaceful resolution to the agitated frustration of the
first poem.
Chromaticism is an essential element in defining the
melodic and harmonic style. The vocal writing is largely
declamatory and presents the vocalist with challenges of
tessitura, intervallic complexity and extended technique.
TABLE OF CONTENTS
LIST OF ILLUSTRATIONS.........*... *............*0 11
DISCUSSION AND ANALYSIS......................*. , iii
Elements of Form...........................1.. iii
Aspects of Pitch Organization.................. xv
INSTRUMENTATION....................,...............0.. Xviii
FOREVER'S SILENT SONG................................ i
i
LIST OF ILLUSTRATIONS
Figure Page
1. Formal Scheme (I) ........................iv
2. Harmonic style and "progress" motive.......v
3. Ostinato showing "manunkind" motive...... .vi
4. Formal Scheme (II)........................ x
5. "Flowers" motive..........................xi
6. "Children" motive........................xii
7. "Forever" motive.........................xiv
9. Motive Symmetry...........................xv
10* Most Used Sets...........................xvi
' 11.Set Ntok..............xi
ii
DISCUSSION AND ANALYSIS
Elements of Form
The first movement is set to the following poem:
pity this busy monstermanunkind,not. Progress is a comfortable disease:your victim(death and life safely beyond)
plays with the bigness of his littleness-electrons deify one razorbladeinto a mountainrange;lenses extend
unwish through curving wherewhen till unwishreturns on its unself.
A world of madeis not a world of born-pity poor flesh
and trees;poor stars and stonesbut never thisfine specimen of hypermagical
ultraomnipotence. We doctors know.
a hopeless case if-listen:there's a hellof a good universe next door:let's go.
The music uses the poem to define a through-composed
formal scheme (Fig. 1). The poetry describes mankind as an
entity destined to fall prey to its own progress and points
out the fact that the future looks bleak unless man
reappraises his situation. Cummings chides man for
1 Copyright 1944 by E.E. Cummings; renewed 1972 byNancy T. Andrews. From COMPLETE POEMS 1913-1962 bypermission of Harcourt Brace Jovanovich, Inc.
iii
failing to recognize his plight and scathingly proposes
that all of mankind is doomed to selfishness and 'conceit.
The second half of the poem mourns for a world that has
been devastated by mankind's "progress," and it even
abandons all hope at the end.
/smoier A B C (CLOS*6)
CumAK
.O 5 42 5 e 88 70O f6
Fig. 1--Formal Scheme (I)
In an attempt to portray the enormity of mankind,
the introduction opens with dense and expansive textures.
Much of the harmonic vocabulary throughout the movement is
a mixture of secundal, polychordal and quartal sonorities,
which are often expanded by octave displacement. The
iv
example (from the introduction) is reflective of the
harmonic style of the movement (Fig. 2) .
I - 2 3
AAA
x
Fig. 2--Harmonic style and "progress" motive
The material in the horns (measure 3 of the above
example) forecasts the first important motive in the
movement. Recognized easily by its durational pattern
(short-long), this motive represents "progress" and is used
symbolically throughout the movement. The first entrance
of the voice signals the close of the introduction and is
characteristic of the accusatory nature of the poem (m. 7).
V
f
ViOLL
h I., - I mumb-
m
After the introduction the first formal division
(the A section) opens with an ostinato in the bass. The
tritone interval at its outset, coupled with an avoidance
of pitch duplications produces an asymmetrical martial
character. The rhythmic patterns are continually
displaced, as if accompanying a corps of marchers
periodically missing a step. The first four pitches of the
ostinato make up the second important motive of the
movement, "manunkind" (Fig. 3).
b 4F" #da-1.r I I
10 0 W I.W06;
Fig. 3--Ostinato showing "manunkind" motive
The pitch, E, was chosen in order to pay homage to
E.E. Cummings and provides a pitch center throughout the
movement.
vi
OF ?Mm% I I ro" j .j
The bass ostinato (Fig. 3) gives way to a new,
delicate ostinato in the violins (m. 27) which is derived
from the "progress" motive. This subsection (marked
"mysteriously") depicts the dream world out of which man
has made a reality through his delusions of grandeur and'
conceit. The key phrase, "plays with the bigness of his
littleness," is a bitter reminder to man that he is not
always the paragon of virtue he thinks he is. Fragmented
usage of both "progress" and "manunkind" motives is evident
here, both in isolation and in various combinations. The
section reaches a midpoint at the word "razorblade" with a
snap pizzicato which is representative of the author's
effort to awaken mankind before it is too late.
The closing portion of the A section becomes
progressively agitated with solo winds and strings taking
part in dense counterpoint culminating in a musical pyramid
(m. 48) symbolizing the word "mountainrange" in the text.
The voice is woven into the orchestra at the close of this
section ending with an emphatic punctuation containing the
highest note possible for all involved.
The second definable section (B) begins with a
permutation of the "manunkind" motive. The motive occurs
on different pitch levels as if to illustrate the
instability of the world due to mankind's "progress." The
poem at this point laments these evils and mourns for the
vii
earth and cosmos as victims of the destruction of man.
Glissandi are used in the voice and orchestra to depict
sorrow and sobbing. Dissonant sonorities containing
seconds, tritones and sevenths are used to enhance the
movement's emotional impact as well as to generate high
energy in order to complement the poem. The final
expression of grief in this section occurs in m. 87 as the
voice and orchestra end with the lowest note possible.
As if to further punctuate the preceding lament,
Cummings' next line of poetry, "but never this fine
specimen of hypermagical ultraomnipotence," derisively
satirizes the monster "manunkind. " The accompanying music
(m. 88) begins softly and delicately but is rudely
interrupted by the "progress" motive in m. 91. Entrances
of the motive are staggered and rise quickly to the highest
tessitura in the movement. Perhaps the most emotional
usage of the "progress" motive occurs after this point (m.
97), but it is a fleeting moment not unlike the often
transitory nature of progress and success. The energy
dissipates after m. 97 with more dialogue in the orchestra.
The concluding section is representative of
Cummings' apathy toward humanity and his proposal that it
start over again. The voice delivers the penultimate line
("We doctors know a hopeless case if-listen") followed by
viii
the last ostinato of the movement which is evocative of the
martial character of section A. For additional excitement,
the last statement is spoken by the voice accompanied by
scattered fragments in the winds. A final "progress"
motive in the horns is punctuated by the piccolo and flute
to end the movement.
The second movement is a musical realization of the
following poem:
these children singing in stone asilence of stone theselittle children wound with stoneflowers opening for
ever these silently little children are petalstheir song is a flower ofalways their.flowers
of stone aresilently singinga song more silentthan silence these always
children foreversinging wreathed with singingblossoms children ofstone with blossoming
eyesknow if alit tletree listens
forever to always children singing forevera song madeof silent as stone silence ofsong 2
2Copyright 1939 by E.E. Cummings; renewed 1967 byMarion Morehouse Cummings. From COMPLETE POEMS 1913-1962by E.E. Cummings by permission of Harcourt BraceJovanovich, Inc.
ix
-- w M~owwwwft
The poem offers inspiration and a possible answer to
the accusations posed in the first. The reference to
children and song creates a feeling of forever, and the
seemingly stone-carved message of hope emerges. (Children
have always provided an element of hope for mankind, and
often that which seems obvious to a child remains unobvious
to adults). The reference to a "lit tle tree" (not a grown
tree) also serves to point out that time is forever and
that the immortality symbolized by a child's song cannot go
unrecognized. (Perhaps "manunkind" would do well to listen
to this "silent song.")
The form of the movement is presented below (Fig. 4)
A S&A ' C COmew
1Xt M f 5Z t9 181 92M.
Fig. 4--Formal Scheme (II)
x
Mvp wamwm - IL-1-1--, - -
The movement opens with a drone consisting of the
interval of a perfect fifths symbolizing antiquity,
immortality and forever. The second movement is centered
around the pitch, A, in the tradition of tonic-subdominant
key schemes (mvt. I uses the pitch E as a unifying
factor). Soon after the introduction of the drone, the
oboe and flute enter with an improvisatory Arabian-flavored
dialogue. The voice follows with a motive named "flowers"
(m. 126) on the syllable "ah" and is treated melismatically
as if it were functioning as another wind instrument (Fig.
5).
126 127
Fig. 5--"Flowers" motive
The first setting of the text also uses the "flowers"
motive and is accompanied by the drone which ends the
introduction.
xi
The A section begins in m. 137 and utilizes the
following melodic material in the voice (Fig. 6).
voice
Fig. 6--"Children" motive
This motive and its various derivatives permeates
the section and much of the movement. Strings and brasses
are used to provide lush background sonorities to accompany
the voice. Fragmented conversation continues among the
winds, imitating the mood set in the introduction.
The next section (B) uses the word "petal" as a
point of departure into a different texture. The interval
of a descending half-step is used as a repetitive motive
("petals") to create a muted texture in the strings. The
xii
vocal writing also contains the half-step as an integral
part of the melody (Fig. 7).
Fig. 7--"Petals" motive
3The "petal" motive develops into a 4 section reminiscent of
a childhood song and the section soon ends with the
half-step motive on the word "silence."
After a short interlude, the voice re-enters with
the "children" motive in a section which resembles the A
section in prime form. However, this segment also employs
the "flowers" motive and the texture found in the B section
(m. 174-5). The drone also makes a short appearance in
xiii
m. 177 as an accompaniment to the motivic fragments in the
winds. A brief reminder of the "progress" motive from the
first movement brings this section to a close.
The climax begins with a wavering monotone in the
voice and tremolos in the strings (m. 184). Gradually the
texture thickens with the addition of more strings and
brasses, but the entire orchestra drops out in m. 192 as
the voice delivers the most crucial line of the poem. This
melodic material can be traced to the previous reference to
the word "forever" (m. 146-7), and is subsequently echoed
by the orchestra (Fig. 8).
voice H4
Fig. 8-- "Forever" motive
Following this emotional peak the alto saxophone
restates the "progress" motive from the first movement.
Out of the accompanying chord emerges the drone which has
xiv
been inverted to a perfect fourth. The voice presents the
final statement of the text (set to the "flowers" motive)
amidst fragmented motivic material in the winds.
Aspects of Pitch Organization
The six aforementioned motives play a central part
in unifying the work as a whole. Their significance in
symbolizing various elements in the text has already been
established. All but two motives employ aspects of
intervallic symmetry, as can be seen in the following
figure (Fig. 9).3
Motivealt;. PitchCas Symmetry in Work
progress 3-10 0 3 6 none
monster 5-22 0 1 4 7 8 ABbCIEbjF
mankind 4-9 0 1 6 7 E jqq0Eb
flowers 5-6 0 1 2 5 6 none
children 5-34 0 2 4 6 9 CI fJAjB
forever 4-1 0 1 2 3 GG#ABbIVV VJ
V a mind
' a 2nd
I.-J * .3rd
w- * P4th or P5th
Fig. 9-- Motive Symmetry
3Set tables from: Allen Forter Th Structure QAitonal NUgi, (New Haven and London, 1977) p. 179.
xv
Together with the six central motive sets,
additional sets 3-l1 3-5, 3-9, 4-5, 4-Z15, 6-5, 6-Z6 and
6-Z12 were used consistently throughout the piece. These
sets are found in prominent places in the melodic or
harmonic texture of the work, often in close proximity to
the motives themselves. The following figure lists these
sets and gives their locations in the piece.
PITCH CLASS
0,1,2,3,6,7
0.1.2.5.60 r1r6,70p1r2 6Orlr2,30 r14,6
0.1,20 1r602,70 3 6
VECTOR
422232421242332232
311221200022210111321000111111
210000100011010020002001
MOTIVE OR MEASURE NUMBER
199196Aggregate of similar
pitches in motivesflowersmank ind19foreverdifference notes inmotives
2716137progress
Fig. 10--Most Used Sets
Set 6-5 emerged from the above list of sets as
the nexus set in a series of networks. Below is the
central network shown with two related networks.
xvi
SETS
6-56-Z66-Z12
5-64-94-54-14-Z15
3-13-53-93-10
6-Z1264-5 /-Z15>-/ ,4-6
3-1 3-5 3-10 /
3-3 3-9
/
I/
6-Z64-5 / 4:8
4-6 4-93-1 \.3-9
3-mo5
6-5
4-1 5-6 4-18\4-415
\4-4 4-6 4-9
4-5 4-8
3-1 3-5 3-10
3-31- - 3-9
= Strong Relation
-- --o-Nt Same Number Sets
Fig. ll--Set Network
In conclusion, the six motives in the work
provide an intuitive link with other diverse elements in
the work. Although the piece was conceived in a freely
atonal style, the pitch structures described above were
discovered to play an important role in unifying the piece.
xvii
INSTRUMENTATION
2 flutes
oboe
alto saxophone in Eb
bassoon
2 trumpets in Bb
2 horns in F
trombone
strings
3 percussion
1st vibraphone# marimba
2nd snare drum, suspended cymbal,
triangle, wind chimes
3rd bass drum, snare drum (shared),
suspended cymbals tam-tam
xviii
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