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 8008751

JENNY, JACK DAVID

PART I: ELLIOTT CARTER: THE MANIPULATION OF MUSICAL TIME.

PART II: MATRIX: STRUCTURE FOR ORCHESTRA

The Ohio State University D.M.A. 1979

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 PART I

ELLIOTT CARTER: THE MANIPULATION OF MUSICAL TIME

PART II

MATRIX: STRUCTURE FOR ORCHESTRA

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Musical Arts in the Graduate

School of The Ohio State University

By

Jack David Jenny, B.M.E., B.M., M.M.

The Ohio State University

1979

Reading Committee: Approved By

Dr« Marshall Barnes

Dr. Herbert Livingston

Dr. James Moore 2 V /ltasL$/uLl/ /3c i—

Adviser
Dr. Thomas Wells School of Music
 To My Parents
Only with your endless encouragement, support and
love was this work possible#

ii
 ACKNOWLEDGMENTS

Appreciation is extended to the many people who directly

or indirectly contributed to the formation of this document.

Special thanks goes to Dr. Marshall Barnes, whose impartial

position as an educator has allowed me to develop my own com­
positional style over the years; to Dr. Thomas Wells, whose

assistance in developing the written portion of this text from

an unformed idea into a hopefully coherent and useful observa­
tion on duration in music; to Dr. James Moore for the assist­

ance and direction which he has unselfishly provided throughout

my college career; and especially to my wife Laureen, whose

love, affection and endurance throughout this entire project

has been exceptional.

iii
 VITA

September 9, 1951. • • Born - Columbus, Ohio

197 *t • • • • • • • • • B.M.E., B.M., The Ohio State
University, Columbus, Ohio

197^-1978........ • • Graduate Teaching Associate, School of

Music, The Ohio State University,
Columbus, Ohio

1976 . . . . . . . . . M.M., The Ohio State University,

Columbus, Ohio

1977-1979. • • • • • • Percussionist, Columbus Symphony

Orchestra, Columbus, Ohio

1977-1979. • • • • • • Lecturer in Music, Otterbein College

Westerville, Ohio

PUBLICATIONS

Pursuit; for Solo Marimba and Percussion Ensemble, Columbus,

Ohio: Permus, 1977.
Ethos; Six-Mallet Marimba Solo, Columbus, Ohio: Permus, 1978.
FIELDS OF STUDY

Major Field: Music Composition

Studies in Composition. Professors Marshall Barnes, Jay

Huff and Thomas Wells

Studies in Percussion. Professor James Moore

iv
 TABLE OF CONTENTS

. Page
ACKNOWLEDGMENTS .............................. ill

V I T A ...................... ................. lv

PART I ELLIOTT CARTER: THE MANIPULATION

OF MUSICAL T I M E ....................... 1

APPENDIX............................ . . 12

BIBLIOGRAPHY ............................ 19
PART II COMPOSITION

MATRIX: STRUCTURE FOR ORCHESTRA ......... 20

APPENDIX: SUPPORTIVE COMPOSITIONS TO MEET

DEGREE REQUIREMENTS
BRASS Q U I N T E T .......................... 86
• •

MUSIC FOR KETTLEDRUMS ANDORCHESTRA .... 98

ETHOS: FOR SOLO M A R I M B A ................. 104

NOVEMBER 1974: FOR SOLOPERCUSSION......... 108

y
 PART I

Elliott Carter:

The Manipulation of Musical Time

1
 This paper will investigate Elliott Carter's Application of
musical time. It will demonstrate the affect of musical time on

the listener's expectations of tension and release and trace the

development of Carter's ideas beginning with his Cello Sonata

and culminating in an analysis of his String Quartet No. 3« a

mature and highly organized musical structure in which Carter

demonstrates a complex interaction of formal systems. These

works illustrate Carter's innovative approach to time and his

concern that developments in the area of time are essential to

the vitality of Western music in the twentieth century.
Despite the variety of post-tonal musical vocabulary, Carter

considers much of it too obvious and too regular on the higher archi­

tectonic levels. Developments of Western Music had concerned itself

with harmony, timbre and especially in the music of Stravinsky,

Bartok, Varese and Ives, rhythmic innovation on a local level.

But the way all this went together on the next higher levels was

still very much in the "limited rhythmic routine of previous West­

ern music."^ What was needed in contemporary music was not just

a string of interesting ideas but "works whose central interest

was constituted by the way everything that happens sis and when it
2
does in relation to everything else." To Carter, the sequence of
elements of any music is more important than the elements themselves.

1. Allen Edwards, Flawed Words and Stubborn Sounds: A Conversa­

tion with Elliott Carter (New York: Norton. 1971)» 96 ".

2. I b i d ., 92
2
 What is interesting about music is the interaction of all

its elements — not a particular local rhythmic combination or a

novel harmony or texture. Carter contends that too much contempo­

rary music has depended on these short-term novelties as the sole

substance of the work and that the piece itself goes along in an

all-too-regular additive succession. He is more interested "in

the contribution of the past to the present and the effect of the

predicted futures on it in dealing with the process of an emerg­

ing present."^ He wants to mix up the conventional approach to

musical time which he considers had become too dull and routine:

twentieth century vocabulary being stuffed into eighteenth and

nineteenth century forms. Carter wants his musical materials to

interact in ways other than just linear succession. "Musical dis­

course . . . ^requires} as thorough a rethinking as harmony had

L
been subjected to at the beginning of the century." Carter

maintains that his music is synonymous with the way we normally

think: "half-a-dozen simultaneous different feelings and percep­

tions all interacting together, with now one and now another com­

ing into main focus while the others contrive more or less in the

background, to influence it and give it the intellectual and af-

5
fective meaning it has."

3« Benjamin Boretz, "Conversation with Elliott Carter," Perspec­

tives of New Music VIII/2 (Spring-Summer 1970),

Edwards, op. cit., 91.

 k
In writing a work that is convincing, the musical language

must be presented clearly: establishing norms which will conse­

quently clearly point out deviants. The entire process of gener­

ating release and tension, the creation of expectations, the

tension-producing frustrations of those expectations and the

final tension-releasing fulfillment of those expectations is de­

pendent on the listener's interpretation of what is normal and

what is deviant. In the twentieth century composers have the

opportunity to establish a new and different musical language for

every piece they write. The choice of vocabulary is infinite but

norms and deviants must be redefined in each work. This estab­

lishment of limitations helps give the piece focus and direction.

Music operates in a time dimension. Our perception of and

our emotional response to music is dependent on our memory of

past events and our expectations of future events in any given

work. Emotion is aroused through the inhibition of response

tendencies — the delay in clarification or resolution of these

6 7
expectations. Pleasant emotions are always resolved.' It is

this expectation of resolution, the belief in the control over

the stimulus that constitutes a pleasant emotion. Through our

many encounters with works of art we are taught to expect certain

patterns and therefore expect to respond in a previously ordered

6. Leonard B. Meyer, Emotion and Meaning in Music (Chicago:

University of Chicago Press, 1956),

7. Ibid., 19.
 5
fashion. This pattern "may be disturbed either because the suc­

cession of the parts of the pattern is upset or because the timing

8
of the series is upset or both." Artists play with our percep­
tual habits toward patterns which determine form. Musical arrousal
occurs in the suspended fulfillment of these expected forms. The

creation of expectations, the tension resulting from the inhibition

of those expectations and the final fulfillment of those expecta­

tions constitute the process of generating tension and release.

Expectation is also the product of doubt and ambiguity.

Musical patterns that are unclear or continually inhibited result

in doubt and uncertainty and generate a need to look forward to

clarity and regularity. Carter likes to have availa* ie a large

repertory of material which is for the most part contrasting but

at the same time homogeneous in some respect so that, in context,

all parts are percei,ved as belonging to the same piece. Musical

meaning "cannot emerge without the strong focus of a unifying con­

ception that restricts and orders the materials with which the work

is composed. This limitation gives the work not only It.s focus
9
but its identity."' A composer's creative manipulation of musical

time is dependent on how well the listener is able to manage the

vocabulary and to grasp the musical language— the norms and

deviants. "The difficulty in much contemporary music is, of course,

that most listeners are so unfamiliar with its vocabulary as to be

8. Thid.. ? k .

9* Borotz, op. cit., 11,*

 6
unable to perceive events clearly and make comparisons.1^
In music that is concerned with continual change, experi­

menting with metric modulation is a logical first step in the ven­

ture to manipulate musical time. Used first by Carter in his

Cello Sonata (1948) and to a greater extent in his String Quartet

No. 1 (1950 this device creates the clear impression of the co­

existence of several tempos all of which can be heard in the end

as ’’specific divisions of one all-embracing conception.’’11 He

has expanded metrical relationships into complex proportional

systems, thus initiating significant extension of the rhythmic

1p
tradition of Western music.
Metric modulation is really the essence of Carter's evolving

manipulation of musical time. It is a local level concept that

finally surfaces in the much higher levels of musical form in his

later works. In the string Quartet No, 2 (1959) Carter weaves

the music into a seamless web, each "character-continuity” having

its own distinct qualities but growing out of the preceding one

and then being transformed into the following one, to fabricate,

one single large movement.

The general plan of the Double Concerto (I9 6 I) is that of a

constantly evolving series of shapes — the solo instruments

emerging out of a kind of chaos in the percussion introducing the

10. Edwards, op. cit.. 89.

11. Charles Rosen, "Elliott Carter,” Dictionary of Contemporary

Music, ed. John Venton (New York: Dutton, 1974), 128.

12. Robert P. Morgan, "Elliott Carter's String Quartets,” Musical

News!etter IV/3 (Summer 1974)* 4.
other instruments, followed by a great deal of manipulation of all

the material dissolving finally back into the chaos of the percus­
sion. The fundamental concept of the Double Concerto "that there

is a large world going on from which items are picked out, brought

into focus, and allowed to drop back"'^ is carried to even greater

lengths in the Concerto for Orchestra (1969)* Here the four move­

ments are "presented separately, juxtaposed and superimposed in a

way that retains their integrity and yet forms a single dramatic

progression"'**
The piece which followed the Concerto for Orchestra will be

used to examine more closely Carter's more advanced innovations

on musical time. The Third String Quartet, commissioned by the

Julliard Quartet and composed in 197*, divides the performers into

two duos (violin 1 and cello; violin II and viola) separated on

the stage. Duo I is instructed to play quasi rubato throughout

while Duo II is to play in quite strict rhythm. The difficulty

in keeping the two duos together is so great that when the

Composers' Quartet performed this piece at the Dartington Summer

School in 1975 (acclaimed as the most accurate performance to date)

15
they used prerecorded "clicktracks" for each of the two duos.

Metric modulation is used extensively in both duos. Be­

cause each duo usually plays music of a very different character

13. Boretz, op. cit., 7.

lif. Rosen, op. cit.t 129.

15. Nicholas Kenyon, "Concerts: Elliott Carter," Music and Musi­

cians XXIV (Oct. 1975), 52.
with different metric and tempo Indications the metric modulations

had to be constantly synchronized so that the progression through

time remained equal for both duos.

Each duo has its own set of movements, or "character-continu-
ities" (distinctive intervallic, rhythmic and articulate organ­

izations). Duo 1 has thirteen sections (each of four "movements"

appearing three times Jjurioso appearing four times]) while duo

II has twelve sections (each of six movements appearing twice).

The sections are interlaced in such a way that each character-

continuity of one duo is heard in combination with each character-

continuity of the other duo (see appendix). While there are no

literal repetitions to be found, rhythm, articulations and inter­

vallic relationships are generally consistent throughout each

"movement" making the return of old material very recognizable.

Each character-continuity is complete in itself, but because each

one is split into two or three segments the listener is required

to drop each one of the continuities at least once and then pick
it up when it is continued later. When both duos play together

usually one or the other assumes leadership determined by the

dynamics and the rapidity of the notes (medium length notes tend­
ing to dominate very rapid or long-held notes1^). The pauses are

also important in highlighting one duo or the other. Consequently

one hears different voices of a dialogue come forward at different

times.

16. Elliott Carter, String Quartet No. 3 (New York: Associated

Music Publishers, 1973), performance notes.
 Generally the two duos play very dissimiliar character-

continuities, but at times they.join together cooperatively in

very similar character-continuities (Duo I's Pizzicato giocoso

combined with Duo II's Pizzicato giusto or Duo I's Andante espres-

sivo combined with Duo II's Largo tranquillo) contributing con­

siderably to the focus of the larger direction of the work. The

two duos engage in a continuous "game of tension and near-

17
release" creating considerable expectation as to which "move­

ments" will be combined next.

Expectation is a state of suspense which in itself is a

"product of ignorance as to the future course of events." Igno­

rance breeds tension in music which if strong enough finds resolu-

1Q
tion in almost any return to certainty. 7 Carter undoubtably under­

stands the tension factor of ignorance and ambiguity but by re­

turning his high-tension passages only to near-certainty levels

of resolution, he always maintains at least a minimal level of

expectation. Even the last measure of the quarter "is not intended

to suggest a resolution of the dichotomies that have engendered

the entire quartet. Rather, it only seems to suggest the possi-

20
bility of beginning the whole process over again."

17. John Rockwell, "Concerts: New York," Music and Musicians XXI
(Mar. 1973), 58.
18. Meyer, op. cit.. 27,

19. Ibid.
20. Morgan, op. cit.. 8.
 to
The appendix illustrates the precise sectional interlacing

of the two duos. It gives exact timings, total number of notes

(articulations), average number1 of notes per second and average

dynamic level of each section. The chart also combines the two

duos providing note ratios (always reduced to 1:X or X:l), total

number of notes and the average number of notes per second at each

change of section. Sections in which the dynamic level is gener­

ally loud or ranges from soft to loud tend to have a moderate

notes/second rate. Dynamics are generally soft throughout sections
which have very rapid or very slow, long-held, notes.

Form can be determined to a certain extent through the com­

bined notes/second rates. Two sections each of very low notes/

second rates which are combined simultaneously create a very low

tension area as do two very rapid sections. High tension areas

generally arise in which both duos contain moderate notes/second

rates. When dissimilar sections combine simultaneously the duo

with the moderate note values is generally heard as the foreground.

Elliott Carter has provided a most significant reply to the

need for a fresh, clear, consistent direction to music in the

second half of this century. Unclouded with recycled primitivism

or neoclassicism Carter*s solution to musical time is a logical

extension of the past and provides a new dimension for musicians

to consider. Carter's musical language evolves from the culture

of the second half of the twentieth century, a communication which

strives to account for the listener's ability to distinguish sounds
and to grasp their combinations at various levels throughout
composition.
 APPENDIX

Elliott Carter: String Quartet No, 3

Time Graph

Duo I Combined Duos Duo II

character-continuity, note ratio character-continuity,
measure, time, total notes measure, time,
total notes, notes/second total notes,
notes/second, notes/second,
typical dynamic level typical dynamic level

Furioso ra.1, 45*7 sec.,- — Maestoso m.1, 70.1 sec.,

319 notes, 7,0 n/s, I k 2 notes, 2.0 n/s, (p-f)
(mf-ff)

3.3:1
k k 8 notes
9.8 n/s

pause m.17, 5*7 sec.

Furioso/Leggerissimo
(transitional) m.18, 5.4:1
20./f sec., 139 notes, 170 notes
6.8 n/s, (mf) 8.3 n/s
Leggerissimo m.28, • • • • a ; a ......
61.1 sec., 5^2 notes,
8.9 n/s, (p) 7# S ? i
-pause m.28, 21+.7 sec.
91:1
276 notes
11.2 n/s

Grazioso m. 1+0, 67.2 sec.,

201+ notes, 3.0 n/s, (p-mf)

.
2 0:1
390 notes
10.1+ n/s

Andante espressivo m./+9 —

76.2 sec., 82 notes,
1.1 n/s (mp) 1 :1 . 6
123 notes
1+.1 n/s

Grazioso/Pizz. giusto, meccanico

-m.61, 12.1 sec., 39 notes, 3.2 i/s
12 (mf)
 ci:M
55 notes 13
— 4.5 n/s
••••••••... -Pizzicato giusto, meccanico
m.67, 86 sec., 248 notes,
1:6 2.9 n/s, (mf)
133 notes
3.9 n/s

pause ra.79, 2 9 . 3 sec.

0:77
77 notes
2.6 n/s

Pizzicato giocosd m.9 0 ,

79*5 sec,, 422 notes, 4:1
5.3 n/s, (p-f) 287 notes
12.7 n/s
-pause m. 97* 24.2 sec.

161:0
161 notes
6.7 n/s
-Scorrevole m.107> 103.8 sec.
1065 notes, 10.3 n/s, (pp)
82:229
311 notes
9.6 n/s

pause m. 115 , 43*7 sec."

0:437
437 notes
10 n/s

Leggerissimo m. 136,
60.2 sec., 501 notes,
8.3 n/s, (p)

Pizzicato giusto, meccanico

m.15 1 , 58.8 sec., 231 notes
3.9 n/s, (p-f)
 14

.
2 2:1
374 notes
11.8 n/s

Furioso/Leggerissimo
(transitional) m.l64, 4.5:1
16.7 sec., 200 notes, 244 notes
12.0 n/s, (mf) 1 4 .6 n/s
Furioso m.173, 43.3 sec.> ’3 : f
•••••
254 notes, 5*9 n/s (mf) 140 notes
..!£•?. -Grazioso m. 178, 99*9 sec
260 notes, 2.6 n/s, (mf)
2.5:1
208 notes
6.3 n/s

pause m.185, 28.8 sec. -

0:92
92 notes
3.2 n/s

Pizzicato giocoso m.197»

64.9 sec., 323 notes,
5.0 n/s, (p-mf) 2:1
327 notes
5.0 n/s

_Maestoso m.219, 47.6 sec.

136 notes, 2.9 n/s, (p-f)
2.3:1
151 notes
5*8 n/s

Andante espressivo
m.231, 116.8 sec., 1:5.3
99 notes, 0.8 n/s, (p-f) 107 notes
4.9 n/s
-pause m.243» 40.6 sec.
3 0 :0
30 notes
0.7 n/s
 15

.Largo tranquillo m.255»

100.9 sec., 45 notes,
0.4 n/s, (pp)

4.7:1
63 notes
1•1 n/s

pause m.266, 37 sec.

0:11
11 notes
0.2 n/s

••••
Leggerissimo m.278,
76,9 sec., 697 notes “ Appassionato m.290, 73*2 sec.,
9.1 n/s, (p) 161 notes, 2.2 n/s, (p-mf)

.
4 2:1
529 notes
7.8 n/s

Pizzicato giocoso
m.311$ 67 sec., 428 note s 254 notes
6.4 n/s, (p-mf) 46.2 n/s
-Appassionato/Largo tranquillo
*2.*7:V (transitional) m.3 2 3 , 13 sec.,
55 notes 15 notes, 1.1 n/s, (mp)
4.2 n/s
"Largo tranquillo m.325»
75.5 sec., 62 notes, 0.8 n/s
(P-f)
 16

.
6 2:1
222 notes
if.5 n/s

Furioso m.338£, 90.8

sec., 480 notes, 5.3 n/s 6.4: 1
(mf) 229 notes
8.6 n/s
.pause m.352f 32.2 sec.
220:0
220 notes
6.8 n/s

JScorrevole m.367, 64.1 sec.,

817 notes, 12.7 n/s (p-mf)
5.6:1
409 notes
12.5 n/s

Andante espressivo
m.381, 58.8 sec.,
59 notes, 1,0 n/s, (p) 1:19
499 notes
15.1 n/s

^Appassionato m.396, 152.4 sec.,

471 notes, 3.1 n/s, (p-f)
1:3
136 notes
5.0 n/s

Andante espr./Furioso
(transitional) m.407, ■•ua: y m
53 notes
8.8 sec., 16 notes, 2n/s 6 n/s
Furioso m.410, 87.1 sec
276 notes, 3.2 n/s (f)
1: 1
548 notes
6.3 n/s
 17

Coda: Furioso m. l\6k> ^ Coda: Appassionato continued

31.2 sec., 116 notes,
3.7 n/s, (p-f) 2:1
175 notes
5.6 n/s

!
 18

"Character-Continuities"

Statistical Information

>*

Interval Duration Total Average

most number number
associated of of
with notes notes/second

DUO I 19:06 4945 4.3

Furioso M7 ’ 5:17 1562 4.9
Leggerissimo P4 3:37 1969 9.1
Andante espressivo m6 if:16 241 0.9
Pizzicato giocoso m3 3:31 1173 5.6
Pauses 2:25

DUO II 19:06 3896 3.4

Maestoso P5 1:58 278 • 2.4
Pizzicato giusto TT 2 :31 512 3.4
Grazioso m7 2:54 470 2.7
Largo tranquillo M3 3:03 109 0.6
Scorrevole m2 2:48 1882 11.2
Appassionato M6 3:52 645 2.8
Pauses 2:02
 BIBLIOGRAPHY

Boretz, Benjamin. "Conversation with Elliott Carter," Per­

spectives of New Music VIII/2 (Spring-Summer 1970), 1-22.
Brandt, William E. "The Music of Elliott Carter: Simultaneity
and Complexity," Music Educators Journal LX (May 1979)*
24-32.
Carter, Elliott. String Quartet No. 3 . New York: Associated
Music Publishers, 1973»
______ . String Quartet No. 2, String Quartet No. 3. notes by
Robert Hurwitz. Columbia M32738.
__ • "The Time Dimension in Music," Music Journal XXIII
fNov. 1967), 29-30.
Edwards, Allen. Flawed Words and Stubborn Sounds; A Conversa­
tion with Elliott Carter, New York:" Norton, 1971.

Kenyon, Nicholas. "Concerts: Elliott Carter," Music and Musicians

XXIV (Oct. 1975), 50-52.

Meyer, Leonard B. Emotion and Meaning in Music, Chicago: Univ.

of Chicago Press, 1956.

Morgan, Robert P. "Elliott Carter1s String Quartets," Musical

Newsletter IV/3 (Summer 1974), 3-11.

Rockwell, John. "Concerts: New York," Music and Musicians XXI

(Mar. 1973), 58-9.

Rosen, Charles. "Elliott Carter," Dictionary of Contemporary

Music, ed. John Vinton, New York: Dutton, 1974, 127-29.

19
 PART II COMPOSITION

MATRIX:

STRUCTURE FOR ORCHESTRA

20
 INSTRUMENTATION

Piccolo Timpani ( k ) Violin I

2 Flutes Percussion I Violin II
small triangle
2 Oboes snare drum Viola
wood block
English Horn tambourine Cello

2 B*5 Clarinets Percussion II Bass

suspended finger cymbal
Bass Clarinet suspended cymbal
large tom-tom
2 Bassoons crash cymbals
tam-tam
k F Horns orchestra bells
xylophone
3 B^ Trumpets
Percussion III
3 Trombones large triangle
(two tenors guiro
one bass) tambourine
bass drum
Tuba vibes
chimes
Harp

Time: Approx. 13 Minutes

21
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 APPENDIX

SUPPORTIVE COMPOSITIONS

TO MEET DEGREE REQUIREMENTS

85
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pi«*o A(Nc3 ORChESTRA JacIc Jenn
ENNV

(aO Med' Ka.rJ 1*0 1let's.

1978
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 To LINDA LORREN PIMENTEL

MEDIUM HARD RUBBER

COVERED W IT H YARN
6 8 4 3 2 1
ETHOS —
A S ix M a l l e t M a rim b a Solo
V V
Jack D. Jenny
see p. 5): A) kj e
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© 1978 - PERM US P U B L IC A T IO N S
All Rights Reserved • International Copyright Secured
Reprinted with permission of the publisher
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M a ll e t Positionings:

L. H. at A) & L .H .a t B) & R.H. A lw a ys

 \!'i

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.
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,/

' NOVEMBER. 1974

for one percuaslonlst

Jack Jenny

INSTRUMENTATION KEY TO SYMBOLS

X auapended cymbal with
snare drum stick
Vibe a
suspended cymbal with
Suspended cymbals (4) -«g=?>ZZLg yarn mallet
Finger cymbals (auapended) j: u suspended cymbal with
brushes
Olaaa wind chlraea
suspended cymbal with
Braaa wind chimes < >nlei triangle beater
Log druma (6) scrape with triangle
beater
Tlangles (2) " __
let triangle beater
Temple blocka (5) J E vibrate
Ping-pong balls (18) OOOe* temple blocks
Marshmallows (3) triangle
XI o open
Vibes + muffled
Brass wind chimes rim
III edge
Suapended cymbals (4) center .
Tom-toms (4)

Snare drum
¥
Vibes a. sus cym £• finger cym
Bongos (2) — b. tom-toms h. triangles

c. bongos 1. glass w/o

l'c
d. S.D. J- brass w/o
47 k. music stand
e. vibes
1 1. trap table
f. log drums
*n. t<Mplc blocks

108
 V
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