Between Romanticism and Modernism and Postmodernism: George Crumb’sBlack Angels

Abstract

This article discusses the use of tonal quotation/pastiche in George Crumb’sBlack Angels(1970) in the context of an analysis of the entire work. I draw from Losada’s work on postmodernism and collage to understand the organization of the quotation/pastiche movements, and I draw from Bass’s work on Crumb to understand the non-tonal pitch structures in the quartet as a whole. But I suggest that the quartet—an unusual combination of palindromic design and goal-oriented, programmatic activity—also engages the paradigms ofErlösung(Darcy) and teleological genesis (Hepokoski), which suggest a link betweenBlack Angelsand the romantic symphonic tradition and which provide a context for understanding the role played by the quotation/pastiche movements in the work.

Menjelajahi Komposisi Musik Instrumental Kontemporer: Teknik dan Tren di Era Modern

“…Karya ini dianggap sebagai salah satu karya penting dalam dunia musik kontemporer klasik, karena kreativitas dan keberanian Crumb dalam penggunaan teknik-teknik komposisi baru dan instrumentasi yang tidak lazim. Beberapa instrument yang tidak lazim tersebut dapat dilihat dengan adanya penambahan instrument berupa seksi string, kristal baschet (armonika kaca), bongo, drum, gong, cymbal, woodblock, marakas, tam-tam, dan lain sebagainya (Johnston, 2012). Instrumen perkusi seperti tam-tam dan gong digunakan untuk memberikan efek suara yang dramatis dan menakutkan.…”