In this article, the author discusses the extent of which Crumb's compositions exhibit octatonic - whole-tone interplay and that certain aspects of which have their origins in the works of earlier twentieth-century composers. Bass states that "[Crumb's] successful combination of octatonic and whole-tone materials to construct larger musical units...transforms their earlier usage as experimental features of tonally transitional works into viable paradigms for post-tonal composition" (p.156-7). The focus of the article, then, is to examine pieces written by Crumb and his predecessors to discover the history of octatonic and whole-tone compositional techniques.
Works used to illustrate the history of octatonicism and whole-tone systems are Scriabin's Preludes, op. 74; Debussy's Ce qu'a vu le vent d'Ouest and Feuilles mortes (from the first book of Preludes); Stravinsky's Petroushka; Scriabin's Piano Sonata No. 9, op. 68 (the Black Mass); Finney's 32 Piano Games and the 24 Inventions; and Crumb's "Music of Shadows (for Aeolian Harp)" from Makrokosmos, Volume I.
(Monica Steger, 1997)
Bass, Richard "Models of Octatonic and Whole-tone Interaction: George Crumb and His Predecessors" Journal of Music Theory 38 (1994): 155-186.
Crumb's music makes extensive use of the interaction between referential pitch-class (pc) collections. The specific relationship between octatonic and whole-tone collections involves shared pc subsets, symmetrical properties, and pc invariance under transposition and inversion. Precedents for Crumb's applications of octatonic and whole-tone interplay exists in the works of Debussy, Stravinsky, Skrjabin, and Ross Lee Finney. An analysis of Music of shadows from Makrokosmos I illustrates Crumb's combination and extension of these procedures in a representative musical structure.
(Gi Lee)
Bass defines four basic trichordal set types from which larger sets are generated through various symmetrical dispositions of pitch class sets. Following his description of the usage of whole-tone, pentatonic, and octatonic scale types, Bass demonstrates how the materials are put together into an interwoven complex of pitch class sets. The primary materials are developed through symmetrical organizational schemes within which certain pitch class relationships function motivically in both local and long-range constructions.
Resulting structures are illustrated in analyses of "Primeval Sounds: Genesis I" from Volume I and "Voices from Corona Borealis" from Volume II.
(Monica Steger, 1997)
Bass, Richard, W. "Sets, Scales, and Symmetrics: The Pitch-structural Basis of George Crumb's Makrokosmos I and II." Music Theory Spectrum 13/1 (1991), 1-20.
Pitch-structural materials in Crumb's Makrokosmos I and II include four basic trichordal set types from which larger sets are generated through various symmetrical dispositions of pitch-class sets. The largest collections correspond to whole-tone, pentatonic, and octatonic scale types. These materials are assimilated into a tightly interwoven complex of pitch-class sets that offers both a variety of pitch-structural units and the potential for rigorously controlled interaction within the system. The primary materials are developed principally through symmetrical organization schemes within which certain pitch-class relationships function motivically in both local and long-range constructions.
(Gi Lee, 2000)
This source contains detailed information, both biographical and analytical, of three American composers: Irwin Fischer, Ross Lee Finney (Crumb's composition teacher), and George Crumb. Beginning with general knowledge of the the school of music system in the United States and the two divisions of approaches to music that were popular during the twentieth century. Borroff continues by giving a brief biography of each composer and follows with a stylistic and analytical study of the major pieces of the particular composer.
This book is divided into chapters that concentrate on each individual composer and their works, with a closing chapter that discusses a comparison of the three with regards to style and history. Musical works that are discussed in this source are as follows: Irwin Fischer's "A Lullaby," "Can I Then Hope," "A Sea-Bird," "Delight Thyself in the Lord," "There Is No Time," "The Walk in the Wilderness," "Praise Ye the Lord," Burlesque, Ariadne Abandoned, Piano Sonata, Toccata, String Quartet of 1972, The Pearly Bouquet, Mountain Tune Trilogy, Chorale Fantasy, Piano Concerto No. 2, and Statement: 1976; Ross Lee Finney's "A Valediction: Of Weeping," "A Valediction: Forbidding Mourning," Piano Sonata No. 3 in E, 32 Piano Games, Second Sonata in C, Sixth String Quartet, Seventh String Quartet, Concerto for Percussion and Orchestra, Symphony No. 1, Variations for Orchestra, Summer in Valley City, Spherical Madrigals, Edge of Shadow, and Still Are New Worlds; George Crumb's Sonata for Solo Violoncello, Makrokosmos, Volume I, Night Music I, Songs, Drones, and Refrains of Death, Ancient Voices of Children, Eleven Echoes of Autumn, 1965, and Black Angels.
(Monica Steger, 1997)
Borroff, Edith. Three American Composers. London: University Press of America,1986.
The shift in power in the United States from the apprenticeship to the university system took place between 1925 and 1975 and can be examined through the careers and compositions of Irwin Fischer (1903-77), Ross Lee Finney (b. 1905), and George Crumb (b. 1929). The Fourth chapter is about Crumb. The pieces dealt with in this chapter is Sonata for Solo Cello, five pieces for solo piano, Makrokosmos, Night Music, Ancient voice of children, Eleven echoes of Autumn, black angels. Author writes about the structure and the pitch materials in each of pieces.
(Gi Lee, 2000)
This source is a compilation of writings by Crumb, interviews, a biography, excerpts of his pieces, musical analyses, a bibliography, discography, tributes, quotes, reviews, photographs, and an annotated chronological list of works.
Two articles that are concerned with an analytical approach discuss Crumb's compositional process with regards to Makrokosmos I and II; and a study of the element of sound in the Night of Four Moons. The first article also mentions composers who were quite important in the development of Crumb's compositional style and the works Crumb has used as a model of composition for his own works. A few of Crumb's drafts of "Proteus" is printed with this article to illustrate the evolution of his work.
(Monica Steger, 1997)
Gillespie, Donald. George Crumb: Profile of a Composer. New York: C.F. Peters, 1986.
This book contains essays by Gilbert Chase, David Burge, David Cope, Suzanne Maclean, Christopher Wilkinson, Stephen Chatman, Richard Wernick, and Eugene Narmour, an interview with Robert Shuffet, personal reminiscences by Jan Degaetan and Teresa Stern, as well an article by George Crumb himself that offers thoughts on the future of music after Wagner. Wilkinsons article has the backgound of Makrokosmos I and II, also he trace the sketches.
(Gi Lee, 2000)
This dissertation covers the formal processes used in both compositions based on the parameters of pitch, text-setting, instrumentation and texture, and rhythm. One chapter is an overview of certain aspects of Crumb's notational style and the instrumentation of the pieces; following is a discussion of the previously mentioned parameters applied to the analysis of Night Music I (chapter two) and Ancient Voices of Children (chapter three). Chapter four compares the conclusions found in the previous chapters.
While the majority of the material presented in the work is about performance techniques, textures, instrumentation, and forms, there is some discussion of pitch organization through pitch class sets. Sections regarding such sets relate the pitch material to other aspects of the piece, such as text, rhythm and dynamics. The final chapter begins with a basic table that shows a comparison of many aspects of the two pieces and is followed by detailed conclusions that have been derived from the comparisons.
(Monica Steger, 1997)
Stenitz, Richard John. "George Crumb." Musical Times 119 (October 1978) 844-47.
A discussion of George Crumb's compositional technique, which includes novel extensions of the technique of familiar instruments, use of strange and exotic ones, and amplification of sounds that are normally inaudible. His compositions of the 1960s were intimately involved with the work of Federico Garcia Lorca. Recent pieces encompass more universal concerns, especially time, space, good and evil, assisted by a complex fabric of external allusions, allegory, and (often notational) symbolism. Amalgamating various (including oriental) influences, Crumb's style exploits the dramatic relationship between atonality and tonality. Recently his revealing juxtaposition of contrasting styles and cultures has increased in significance through a sophisticated use of parody and real quotation. Author mentions various of works of Crumb which is Black angels, Makrokosmos eleven Echoes of Autumn and night of the Four Moon, but for none of them does author assume a specific analytical approach.
(Gi Lee, 2000)
Thomas, Jennifer. "The Use of Color in Three Chamber Works of the Twentieth Century." Indiana Theory Review 4/3 (1981): 24-40.
Author analyzes Webern's quartet, op. 22, Stravinsky's Abraham and Isaac, and George Crumb's Eleven echoes of autumn. He takes into account the timbre units, instrumental techniques and combinations, timbre contrast or homogeneity, timbre ordering (serialized, free, repeated, varied), and the structural importance of color. Author explains how the timbre variety was achieved in each section of Crumbs piece. Finally he compare the Stravinsky and Weberns way of using of timber with Crumb. Books:
(Gi Lee, 2000)
The author of this dissertation discusses various elements of Vox Balaenae, mainly the topics of motivic variants, motivic transformations, use of timbre, and twentieth-century performance techniques. An interesting variation from other analyses, Timm labels motivic cells that are based on intervals instead of using pitch-class sets. Timm also points out through form diagrams and prose the recurring elements of the piece, as well as the motivic transformation that occurs from one movement to another.
Timm mentions timbral effects and how instrumentation corresponds with the various motivic cells that he defines earlier in his work. This, when tied with the structure of the piece, is the basis for discussion of motion in the piece. Expansion of intervals, change in texture or instrumentation, change in rhythm, and the development of melodic contour are all factors used to analyze Vox Balaenae in great depth.
(Monica Steger, 1997)
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