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ANALOGICAL OBSERVATIONS:
GUNTHER SCHULLER'S SETTINGS

0F ARTWORKS BY PAUL KLEE
presented by

CAROL VanRANDWYKICOWEN

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ANALOGICAL OBSERVATIONS:
GUNTHER SCHULLER'S SETTINGS
OF ARTWORKS BY PAUL KLEE

BY

Carol VanRandwyk Cowen

A THESIS-

Submitted to

Michigan State University

in partial fulfillment of the requirements
for the degree

MASTER OF MUSIC

Department of Music

1984

ABSTRACT

ANALOGICAL OBSERVATIONS:
GUNTHER SCHULLER'S SETTINGS
OF ARTWORKS BY PAUL KLEE

BY
Carol VanRandwyk Cowen

The present thesis observes analogous theoretical
relationships between the elements of art and the elements
of music as they are evidenced in Gunther Schuller's
Seven Studies 9n Themes 2: Paul Klee and the seven art-

 

 

works of Paul Klee upon which Schuller based his music.
Terminology from the writings of Paul Klee is applied to
both visual and musical elements, and parallel interela-
tionships and effects are considered. The elements termed
Measure (line, rhythm), Weight (tinting, shading, timbre,
tessitura, dynamics), and Quality (color, pitch) are
considered within three basic areas of analogical phenomena,
which are termed 'complementary pairing,‘ 'tripartite
equidistance,‘ and 'modes of expression.‘ The analogical
phenomena of complementary pairing and tripartite equi-
distance deal exclusively with the element of Quality, i.e.,
relationships between color and pitch. These relationships
are observed in a theoretical context and then applied to
the actual works. The area of analogical phenomena termed
'modes of expression' considers interelationships and

effects of each and every element.

ACKNOWLEDGEMENTS

I wish to express appreciation to my committee,
Professor Deborah Moriarty-Forger,tnu Russell Friedewald,
and Dr. James Niblock for their time and consideration.
Special thanks to Dr. Friedewald for his patient guidance
and indispensible advice.

I also owe a debt of gratitude to Eleanor Rose
Cowen, Janet Harris, Deirdre Tanton, and Mary Troeger for
their tremendous assistance in the search, location and

photographing of the obscure Klee prints.

ii

TABLE OF CONTENTS

Chapter Page
I 0 INTRODUCTION 0 O O O O O O O O O O O O O O 1
II. PAUL KLEE: A BIOGRAPHICAL SKETCH . . . . 12

III. GUNTHER SCHULLER: A BIOGRAPHICAL SKETCH . . 16

IV. ANTIQUE HARMONIES . . . . . . . . . . . . 20
V. ABSTRACT TRIO O O C O O O O O O O O O O O 27
VI. THE LITTLE BLUE DEVIL . . . . . . . . . . 37

VII. THE TWITTERING MACHINE . . . . . . . . . . 48
VIII. ARAB VILLAGE . . . . . . . . . . . . . . . 54
IX. AN EERIE MOMENT . . . . . . . . . . . . . . 61
X. PASTORALE . . . . . . . . . . . . . . . . . 67
CONCLUSION . . . . . . . . . . . . . . . . . 73

BIBLIOGRAPHY . . . . . . . . . . . . . . . . 74

I. INTRODUCTION

Analogy is defined in Webster's dictionary as
"An agreement of likeness between things in some circum-
stances or effects when the things are otherwise entirely
different." Although visual art and music are entirely
different art forms, philosophers, artists, and musicians
through the centuries have recognized the essence of
analogy between them. Musical compositions are often
given visual titles, while visual compositions have been
denoted by musical titles. Visual art is at times
described in musical terminology, while music is similarly
spoken of in terms of visual art. And of course the
philosopher goes beyond the cosmetics of the analogy, in
his search for the underlying realities to explain various
uncertainties.

The word analogy is derived from the Greek word
'analogia'; the prefix ana- meaning according to, and
logia from 'logos', meaning ratio and prOportion. Visual
art and music are two art forms which are constructed
according to ratio and proportion. They are two entirely
different languages of creativity, although the forms of
ratio and proportion within each language can be trans-
lated from one to the other. Certainly not all elements
and meanings will speak equally well within the other art
form, just as literature translated from one language to
another loses some of its original meaning.

Analogous elements, dimensions, and parameters
of ratio and proportion will be studied in this thesis as

they reveal themselves in Gunther Schuller's Seven Studies

 

9g Themes 9: Paul Klee. Paul Klee himself was a philo—

 

sopher and musician as well as a visual artist. He was

widely read in the sciences, giving his writings an

empirical quality, as Klee finds himself analyzing the
absolutes of art. On January 26, 1924, Klee gave a
lecture at the Opening of an exhibition of his work at
Jena Kunsterein1 in Bavarian Germany. He prepared a short
treatise on modern art as the basis for this lecture. The
treatise was not published until 1945, but had an immedi-
ate effect on the artistic community, which has continued
to the present time. This study will use Paul Klee's
observations and terminology from the Jena lecture and
other writings to describe the basic elements of art,
inasmuch as he is well qualified, and his are those works
upon which Gunther Schuller constructed music.

Elements of art combine to make partial struc-
teres, shapes, and total forms as do the elements of
music. Klee begins his discussion of these elements with
those which he terms "the more or less limited formal
factors."2 These are line, tone value, and color. He
gives these three elements a broader scope through the
respective alternate terminology of Measure, Weight, and
Quality. Klee explains that line is the most limited
element, since it is "a matter of simple measure."3 One
can measure angles, curves, lengths of radius and focal
distance of and through line. In music, this theoretical
element of Measure is rhythm. The temporal length of
sounds and silence, and the distance between any number
of musical events can be measured.

The second of the basic elements of art which
Klee discusses is tone value. This tone value, or
Weight, consists of the many degrees of shading between
white and black. He dicusses the possibility of a color

 

1Jena Art Society--Jena being a city

2Paul Klee, On Modern Art, (London and Boston,

Faber and Faber, 1979)7-p. 21
3

 

Ibid., p. 21

being "more or less rich in white energy, or more or less
weighted towards the black."1 These various shadings
between white and black, i.e., gray, may interact with

each other through blend or juxtaposition. Tone value,

or Weight, achieves the lightness (n: brightness, or the
heaviness or darkness perceived in a work. In music this
element of Weight, or tone value, relates favorably to the
timbre of a sound; an instrumental sound is often described
as dark or bright, as colors may be described as loud or
soft. Musical tone value, or Weight, may also be the
dynamic level of a sound, or perhaps it relates most favor-
ably with the pitch class (octaval register) of the tone or
tones sounding. The importance of pitch class becomes
clearer when the third element of color, or Quality, is
considered in detail. Let it suffice to pointcnnzhere that
as a color, for example blue, is still blue, whether it be
lightened or deepened by white and black; a pitch, for
example E, is still E, whether it is e4 or great E.

Klee conceptualizes color as more unique in its
nature and variations than Measure and Weight. He states
that color "can neither be measured or weighed."2 Certainly
we can find a color's place in the spectrum, or find a
scientific label for its content, but we can not measure
yellow's yellowness any more than salt's saltiness. We
can only compare salt to sugar, or yellow to red, and
thereby further understand its singular quality. The
aesthetic effect or affect of color is beyond the scope of
measurement in the graphic sense. Aesthetic sensitivity
is intuitive in essence. The scientific dogma of measure-
ment is of little value in apprehending aesthetic quality.
So to Klee, color, beyond line (Measure) and tone value
(Weight) demands aesthetic sensitivity to perceive its

 

1Paul Klee, 92 Modern Art, (London and Boston,
Faber and Faber, 1979), p. 21

21bid., p. 21

 

quality. Therefore, Klee terms the element of color as
Quality. A pitch's frequency can be measured, or its
place in the overtone series can be located; but what is
then measured is not the pitch's aesthetic sound, which is
its Quality, and the essence of music. To comprehend or
apprehend a pitch's meaning, intuitive sensitivity, not
graphic measurement is needed.

In art theory the color wheel exists to show the
relationship of six colors--three primary and three second-
ary--which are arranged diametrically in three complementary
pairs about the circle. Each pair of diametrically arranged
colors, when mixed in equal parts, destroys the quality of
the other and results in gray. When diametrically arranged
colors are mixed in unequal parts a muted (grayed) version
of the color in majority will appear. This aspect of com—
plementary pairing is evident in music in that complementary
intervals, when combined, diametrically, will produce the
octave--a single quality different from the original
qualities.

Inversion also applies to complementary pairs in
both art and music. In music, a reference pitch is needed
from which to measure a given interval in one direction on
the keyboard, and its complement or inversion in the other
direction on the keyboard. In doing so the same pitch is
located an octave apart. For instance, if the key a perfect
fifth above middleciis located (91), as well as the key
the inverse interval of the perfect fourth below middle C
(9), the pitch G will have been located twice in consecu-
tive octaves. The same is true of thirds and sixths,
seconds and sevenths, with the added condition that a minor
interval inverts to a major interval and vice versa. For
example, a major third up from middle C to B will be
inverted downward a minor sixth to reach the B an octave
lower. To see the inversion of a color, a plain white or
black surface is needed as a visual reference point, ana-

logous to the starting pitch from which an interval and its

inversion are figured. If the normal eye gazes at a color
intently for approximately a minute, the image of the
colored object will appear in its complementary color; in
other words, in inversion.1 (This experiment is particu-
larly successful with a red object and a white surface.)
The complementary color pair with the highest
degree of contrast is yellow and purple. Corresponding
to this in degree of contrast, within the seven note
scale is the interval pair of the second and seventh.
The contrast referred to is between brighter or darker,
higher or lower. The least contrasting pair of colors is
red and green; therefore analogous to the intervals of
the fourth and the fifth. The intermediate contrast of
blue and orange relates to the intervals of third and
sixth. The figure below shows the relationships of com-
plementary colors and related complementary intervals.

Figure 1: Circle of Complementary Pairs

 

 

 

1The physiological explanation for seeing color
inversions involves the color sensitive cones of the eye's
retina. These cones become fatigued while looking
steadily at one single color, and so will not respond to
that color's rays within white light. Otto Bluh, Princi-
ples 9: Physics, (Interscience Publishers Inc., New York,
New York, 1955), pp. 411-413.

6

These complementary interval dyads are not representative
of vertical harmony, although they may be simultaneously
realized as such. But they are representative of the
phenomena of complementarianism in art and music.

An aspect of harmony becomes apparent when two
equilateral triangles are superimposed on the color circle
to delineate the three primary colors from the three
secondary colors. These two triangles connect the trio of
primary colors and the trio of secondary colors. In
music, the three primary triads and three secondary triads
may be considered as analogous to these primary and
secondary color trios. This phenomena of tripartite equi-
distance exists in art within the equilateral color
triangles, and in music within the equidistance of
dominant and subdominant triads to the tonic, and super-
tonic and mediant triads to the submediant. Discussion of
the triad built on the seventh scale degree is not
necessary since its qualitative function is that of the
dominant triad, and it is not a substantially stable
triad. The following diagram portrays two equilateral
triangles connecting primary and secondary qualities of

visual art and music.

. . . . . PRDWEU
Figure 2 : Tripartite Equidistance TRIADS A
IV V

 

 

 

 

W 11* n
TRIADS
VI
19mm:
oomR
mo
W
coma

TRHD

 

Beside interaction among the elements and dimen-
sions of Measure, Weight and Quality there are also what
Klee speaks of as "definite interelationships."1 He
explains that while color is primarily Quality, it is also
Weight since each color has its own brilliance or depth.
The same is true of any pitch and its dynamic and tone
qualities. Quality (color), is also Measure (line), inas—
much as it has its boundaries and extents which limit it
and thus may be measured. In music, pitch is also Measure
insofar as it is limited or extended by rhythm. Only line
and rhythm remain solely Measure, although Measure may be
superimposed on all the other elements.

In addition to the "definite interelationships"
between the three basic elements of both art and music,
the contents of each dimension carry expressive means that
go beyond what is physically present. Klee explains this
important phenomena:

"Certain proportions of line, the combination of
certain tones from the scale of tone values,
certain harmonies of color, carry with them at

the time quite distinctive and outstanding modes
of expression. The linear proportions can, for
example, refer to angles: movements which are
angular and zigzag--as opposed to smooth and hori-

zontal--strike resonances or expression which are
similarly contrasting."2

It is apparent from Klee's choice of words that these modes
of expression are as likely to appear in music as in art.
And it is certainly not impossible to conceive of an angu-
lar or smooth line of a painting as translatable to an
angular or smooth melodic line. These angular or smooth
lines or shapes could be the form of single melody, a sec-
tion, or an entire work.

 

1Paul Klee, On Modern Art, (London and Boston,

Faber and Faber, 1979)T—p. 23
2

 

Ibid., pp. 38-39

When speaking, in any way, of compositional pro-
cedure in art or music, the idea of form is encountered at
once. Discussion of the elements and structures which
combine to make a total form can be a nebulous and abstract
task. Modes of expression, conveyed through compositional
elements are the outcome of the formal process. Klee makes
clear that he is aware of the analogy of form in art to
form in music with this statement: "This choice of formal
elements and the form of their mutual relationships is,
within narrow limits, analogous to the idea of motif and
theme in musical thought."1 Inasmuch as Klee's art is
abstract art, the forms he portrays in his compositions are
not predefined or clearly representational of the recogniz-
able. Schuller's musical forms, and indeed a great many of
compositional forms of twentieth—century music are not a
recognizable, predefined representation of a type which can
be traditionally labeled. The music theorist Adele Katz
states:

"Form is not an artificial or superficial garb
that can be imposed on a musical idea. It is
an integral part of it and evolves side by side

with the growth and expansion of the musical
idea."

It is enlightening to compare this to a statement of Klee:

"With the gradual growth of such an image[form]
before the eyes an association of ideas gradu-
ally insinuates itself which may tempt one to a
material interpretation. For any image of
complex structure can, with some imagination be
compared with familiar pictures from nature
[predefined forms]."3

 

1Paul Klee, 92 Modern Art, (London and Boston,
Faber and Faber, 1979), p. 31

2Adele Katz, Challenge £2 Musical Tradition:
A New Concept 9f Tonality, p. 387

3Paul Klee, 93 Modern Art, (London and Boston,
Faber and Faber, 1979), p. 31

 

 

 

 

 

As we review the basic elements of art and
music, their interaction and interelationships, we find
three primary analogical phenomena. Two of these analo-
gies, that of complementary pairing and tripartite
equidistance, deal with the element of Quality, i.e.,
color and pitch. A third analogical phenomena, the
"modes of expression," is concerned with all interactions
and interelationships of each and every element. These
three primary analogic phenomena are those which will be
considered as Gunther Schuller's music is analyzed.
Therefore it should by helpful to review them now.

The first analogy to be reviewed, that of com-
plementary pairing includes the circumstance of
complements combining to become gray, and complementary
intervals combining to become the octave. This analogy
is also evidenced in the phenomena of a pitch remaining
in its pitch class no matter which octave it is transposed
to, and a color remains that color no matter how much it
is tinted or shaded by combinations of black and white.
Evidence of the analogy of complementary pairing will be
born out in the compositions. For example, a piece of
music which contains much significant movement by second
and seventh is likely to represented in visual art by
hues of purple and yellow. More movement by second than
seventh will coincide with more purple than yellow.

The second area of analogical phenomena to
review is the area of tripartite equidistance. This area
includes the primary and secondary color trios and the
primary and secondary triads. One should recall the
equilateral triangles superimposed on the color circle,
and the triangles representing the intervallic equidis-
tance between the three primary and secondary triads.

It may be assumed that if a painting uses purely primary
colors, this will be evidenced in the music by a limited

harmonic language of primary and/or secondary triads.

10

It also follows that a painting of limited color will
correlate to music of limited harmony. Of course, this
is rare in twentieth-century art and music. Chromati-
cism in music, anywhere from twelve-tone technique to
chromatically altered tertian chords, is analogous to
the hues of color between the primary and secondary
colors on the color circle, i.e., orange-red, blue—green,
and the various tints and shades of each color. The more
various and numerous the tints, shades and hues in an art
work, the more complex and extensive the chromaticism
will appear in the correlating musical composition. As a
chromatic hue of color brings about an essential change
to the original color, a chromatic inflection of a pitch
brings about an essential change of the original pitch.
This is unlike the tinting or shading of color, or octave
displacement of pitch, which leaves the initial color or
pitch's essence unchanged. The presence of much movement
by half step in connection with a limited variety of
other intervals will be evidenced in visual art by many
tints, shades, and hues of a limited color palette.
When Klee spoke of chromaticism in connection with his
artwork it was in reference to the many hues made
possible by blending the colors in a given color palette.
At this point it may be of interest to note that there
are colors termed 'analogous colors' in art theory. A
set of three analogous colors includes one of the six
basic colors of the color circle and two adjacent hues,
i.e., yellow-green, yellow, and yellow-orange. The term
'analogous' is applied since the colors are alike in that
they have one color ingredient in common, yet are
"otherwise entirely different."

The last and most enigmatic analogical phenomena
is that which Klee terms "modes of expression." It is
here that the prOportions of Measure, Weight and Quality

combine, interelate and overlap to convey specific moods,

11

aural images, impressions and reactions; and it is here
that the aesthetic intuition and ingenuity of the artist
and composer come into play.

If perhaps there are absolutes in art theory or
music theory, one may surmise that these analogical
phenomena will occur within compositions whether con-
sciously or unconsciously on the composers' part. This
is the hypothesis of the present thesis.

II. Paul Klee: A biographical sketch

Paul Klee was born into a musical family on
December 18, 1879. His parents, Hans Klee and Ida Maria
Frick lived near Bern, Switzerland in the town of Munchen-
buchsee. Klee's father taught music theory and voice at
the State Teacher's College in Hofwil, Switzerland. His
mother was a vocalist and had studied voice in Stuttgart.
The Klee family moved to Bern in 1880. There, beginning
at age seven, Klee was taught to play the violin by Karl
Jahn, a respected music professor and concertmaster. Klee
became an accomplished violinist, and performed with the
city orchestra as an associate member from 1903 to 1905.
He played the violin every morning of his life up until
his final illness.

Klee's maternal grandmother encouraged his inter-
est in art while he was still very young. His violin
teacher was also expedient in developing this interest as
he allowed the young Klee to study the many art books in
his possession. However, it was not until just before
Klee's university entrance examination that he made a
final decision in favor of art rather than music. In
October of 1898 he began a three year program of art
study in Munich. Klee studied with both Heinrich Knirr,
at the Knirr School of Art and Franz von Stuck at the
Academy of Fine Arts.

After completing his schooling Klee visited
Italy for six months and then returned to Bern for two
years. Following this he made his first visit to Paris.
In 1906 Klee married the pianist Lily Stumpf after a six
year engagement, and settled in Munich "alone in the
midst of 5,000 artists," as he wrote in his diary. The

couple had only one child, Felix, born in 1907.

12

13

In 1911 Klee helped in founding the organiza-
tion, Sema, which included the modern artists Kubin and
Scharff. It was during this time that he also met
Wassily Kandinsky, Franz Marc and Hans Arp. Kandinsky
and Marc organized the group known as the "Blaue Reiter"
(Blue Horseman). Klee became a part of the group and
exhibited with them in Munich in 1912. During this same
year, the Sturm Gallery in Berlin exhibited Klee's work,
and five years later this same prestigious gallery sold
several of his works. At this time Klee was serving in
the German Army after being drafted in 1916. By 1919
Klee was selling many paintings and publishing his
theories. The following year he exhibited 362 works at
the Hans Goltz Gallery in Munich. Klee's reputation
had become well established in Germany.

During the year of 1921 Klee became a professor
at State Bauhaus in Weimar. The Bauhaus was founded by
the eminent architect Walter Gropius for the purpose of
uniting the study of architecture, sculpture, painting,
photography and other artistic disciplines. Lyonel
Feininger and Klee's qood friend Kandinsky also joined
the staff at the Bauhaus. Klee founded the "Blauen Vier"
(Blue Four) at Weimar in 1924 with Kandinsky, Feininger
and Jawlensky. This was also the year of Klee's influ-
ential lecture "On Modern Art" at Jena, and the year of
his first American exhibition in New York. In 1924 the
Bauhaus was taken over by the city of Dessau. Meanwhile
the "Surrealists" had organized themselves and held
their first exhibition in Paris. Klee was a part of
this event and displayed works along with Picasso,

Miro, Arp and Max Ernst. The following year Klee paid a
second visit to Italy, and soon after traveled to Egypt,
in 1928, on a grant from a Brunswick art collector.

This visit to Egypt had a profound effect on Klee's use
of color, and on his basic philosophies of art and life.

14

The Flechtheim Gallery of the Museum of Modern
Art in New York exhibited Klee's work in 1930. Klee was
now recognized as an artist of international importance.
By 1931 Klee resigned from the Bauhaus and became a
professor at the Dusseldorf Art Academy. This appoint-
ment was short-lived, however, as the Nazi's commenced
to attack Klee as a "degenerate artist." He was
dismissed from the Dusseldorf Art Academy. At the end
of that year Klee bade a final farewell to Germany and
returned to Bern. Within that same year Klee con-
tracted measles, which triggered the disease,
sclerodermia, of which he was to die five years later,
in 1940.

Throughout his lifetime Klee maintained an
active interest in music. Many titles of his paintings
denote his affinity to that other art. Such titles
include Fugue 13 Red, Voice Cloth nga Singer, Heroic

 

 

 

Strokes 9f the Bow (violin), Chromatic Triad, Overtones,

 

 

Recital gn_the Branch (preliminary drawing for the
Twittering Machine), Drummer, and Rhythmic Tree Land-

 

scape. Klee enjoyed the ability to read and interpret
scores and was at home with Stravinsky's new music as
well as Arnold Schoenberg's twelve-tone works. His
favorites, though, were Bach, Mozart and Haydn. Klee
often attempted to solve the problem of polyphony within
his paintings, and was preoccupied with the relationship
of form to ideas. He strove to find an underlying order
to artistry. A statement Klee made in the Bauhaus-
Zeitschrift, 1928, shows this disposition.

"What had been accomplished in music by the

end of the eighteenth century has only begun

in the fine arts. Mathematics and physics

have given us a clue in the form of rules to

be strictly observed or departed from, as the

case may be. Here salutary discipline is to
come to grips first of all with the function

15

of forms, and not with form as the final result
. . .In this way we learn how to look beyond
the surface and get to the root of things."1

Klee had a profound respect for observable order, yet
this respect was modified by his belief that "nothing
takes the place of intuition," and "Genius is the incon-
sistencies within the system."2

Will Grohman, a personal friend of Klee, and
the foremost scholar on Klee's life and work often
reflects on Klee's dual artistry. Grohman gives a
rather concise verbal portrait of Klee's musical and
painterly sides in these words:

"At times Klee's works are so full of symbols
that they resemble musical scores. In the same
way that one reads musical scores and hears
them with the inner ear, one can read Klee's
pictures and see them with the inner eye--not
arbitrarily, but in accordance with the 'direc-
tions' rm: gives the eye. Concrete things are
rendered so fluid, so reduced and transfigured,
that they can be written down, for not only did
Klee achieve complete mastery of painterly
media but he also developed a compositional
technique of his own. Music was more advanced
in this respect he often observed with regret,
because it can look back on centuries of tradi-
tion. He was, to say the least, the initiator
of a similar tradition in painting and in his
works one finds counterpoint, harmonics, modula-
tion, tonality, and other musical analogies of
the same kind. All the music that was in him
he utilized as a foundation on which to build a
science of artistic form."3

Klee was a thinker, a painter and a musician.
Artists and composers of all sorts can glean something
valuable from his life's work.

 

1Will Grohman, Paul Klee, (Harry N. Abrams,
Inc., New York, 1954), p. 372

2

 

Ibid., p. 375

31bid., p. 162

III. Gunther Schuller: A biographical sketch

Gunther Schuller was born in New York on November
22, 1925. His father was a violinist with the New York
Philharmonic Orchestra for thirty-eight years. Schuller
grew up in an environment saturated with music. He
states, "I heard music from the day I came out of the hos-
pital."1 Schuller recalls that at age six, he and his
brother would amuse themselves by singing the whole of the
"Tannhauser Overture," imitating all the instruments. The
discovery of Schuller's good boy SOprano voice led to his
enrollment in the Saint Thomas Church Choir School in New
York. There his sightreading ability proved to be remark-
able. Schuller submits that this ability was a result "not
of learning the cold and new but of recognizing things I
had known subconsciously all along."2

Schuller's first instrument was the flute, which
he played in his early teens. His father insisted that he
not play the violin as there was an over-abundance of
violinists in New York at that time. The shortage of orch-
estral wind players led a family friend to suggest that the
the young Schuller take up the French Horn. After studying
French Horn for two years Schuller obtained his first
orchestral job at age eighteen with the Ballet Theater
Orchestra of New York. He quit high school to take the job
and never returned to complete the requirements for a
diploma. The next year Schuller became the principal horn
player for the Cincinnati Symphony Orchestra. It was with

 

1Sammy Mitchell, "Third Stream Visitation: A
Talk with Gunther Schuller," Downbeat, p. 20

21bid., p. 20

16

17

this orchestra that he made his debut as both soloist and
composer, playing his own Concerto for Horn and Orchestra
at age nineteen.

Schuller's interest in jazz also began in Cincin-
nati where he heard Duke Ellington and his band. He began
familiarizing himself with this music by annotating entire
scores of Ellington's recordings. Schuller's interest in
jazz has persisted and resulted in the authorship of a
book entitled Early Jazz: Its Roots and Musical Develop-

 

mggt, and in the development of ”third stream music."
Third stream music involves the collaboration of music and
musicians from both jazz and classical realms. Schuller
coined the label, and his own compositions along this line
include the Concertino for Jazz Quartet and Orchestra

 

Journey into Jazz (1962). In the composition, Seven
Studies 9g Themes 9: Paul Klee, the study entitled "The
Little Blue Devil", combines jazz and classical elements.

 

 

Schuller has said, "I hope that classical music will get
from jazz a spontaneity and naturalness it no longer has."1
Schuller began his teaching career in composition
at the Manhattan School of Music in 1950 and continued to
teach there until 1963. Beginning in 1963, he taught at
Berkshire School of Music in Tanglewood, Massachusetts.
In 1965 he assumed the position of head of contemporary
music activities at Tanglewood and four years later became
artistic co-director. Also during this time, from 1964 to
1967, Schuller taught composition at Yale School of Music.
He left Yale in 1967 to become president of the New England
Conservatory, a position he held until 1977. Schuller has
been an active conductor as well as prolific composer
throughout his musical career. His compositional technique
draws from many sources and amalgamates many influences.

 

1Robert Henderson, "Third-Stream Music," The New

Yorker, December 9, 1961, p. 43

18

Schuller's works show evidence of Webern's orchestra-
tion, Stravinsky's rhythms, and Schoenberg's serialism.1
He draws from a number of historical styles, especially
that of contemporary jazz.

Schuller's ideas and attitude toward form and
the creative process, i.e., the role of the intellect
and organized superstructure, parallel those of Paul Klee
in many ways. Like Klee, Schuller believes that order is
fundamental to creativity and the creative process. He
writes:

"The assumption that restrictions upon intui-
tive creativity (such as improvisation) are
inhibiting is I think not tenable, as is demon-
strated by all successful art. A great
masterpiece, for example, grows out of the
interacting stimulus of constant friction
between freedom and constraint, between emotion
and intellect."2

Yet Schuller, like Klee, also regards creative intuition
above order and constraint. This is apparent in his
thoughts concerning form in the creative process. He
writes:

"It has become increasingly clear that 'form'
need not be a confining mold into which the
tonal materials are poured but rather that the
forming process can be directly related to the
musical material employed in a specific
instance. In other words, form evolves out of
the material itself and is not imposed upon it.
We must learn to think of form as a verb rather
than a noun."3

So we see that both Schuller and Klee feel that creati-

vity takes precedence over creative process.

 

1Austin Clarkson, "Gunther Schuller," in
Grove's Dictionary ngMusic and Musicians, (4th edition,
1950), Vol. 16, p. 818

 

2Gunther Schuller, "The Future of Form in Jazz,"
The American Composer Speaks, ed. Gilbert Chase, (Louisi-
ana State University Press, Baton Rouge, 1966), p. 233

3

 

Ibid. p. 218

19

ANTIQUE HARMONIES

 

 

IV. "Antique Harmonies"

Gunther Schuller selected at random seven paint-
ings from the works of Paul Klee to inspire his own
orchestral settings of those pictorial themes. He entitled
the whole of his composition Seven Studies gg_Themes 9:
Paul Klee, and retained the titles Klee had given his
paintings for each of the separate studies. The paintings
span from 1912 to 1933 of the artist's career, though the
majority were done in the 1920's during the years Klee
taught at the Bauhaus.

The first musical setting in Schuller's Seven
Studies 93 Themes 9; Paul Klee is entitled "Antique

 

Harmonies", which Klee painted in 1925. In regard to his
musical interpretation of the Klee painting, Schuller
states, "I tried to preserve not only Klee's amber, ochre,
and brown colors, but also the block-like shapes with
which, in constant variation, Klee builds this remarkable
painting."1 Schuller's musical form is block-like in that
each instrument or instrumental group is limited to one,
two, or three designated pitches within a setting where
almost the entire universal set of pitches is consistently
present--at least ten different pitch classes are sounding
throughout most of the work. These static limitations are
maintained as an integral part of the piece as each player
supports a specific part in this architectural distribution
of pitches within aggregates. The facade of this dense
pitch structure is altered only by the superposition of
various rhythmic and articulation changes upon the care-
fully distributed pitch material.

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies on Themes of Paul Klee, (RCA LM/LSC 2879)

20

21

A hint of motivic material occurs through the
suggestion of a fourteenth century step cadence. This
cadential-type movement evidences the Phrygian character-
istic of downward motion by half—step in the upper outer
part and upward motion by whole-step in the lower outer

part.

Musical Example 1

  

43..

      

V \I

The most non-static, almost melodic, moment in
"Antique Harmonies" is found in measure fifteen. Here
the three trumpet parts contract from their 5 vertical
arrangement to the § chord found in each of the cadence-
like statements. The trumpets then descend immediately
to a new 5 vertical structure, delaying the expected

Phrygian-type movement back up to the initial 5 formation.

Musical Example 2

3%

 

 

V v

If cadential movement can be considered motivic
material, Schuller's opening musical study might possibly
be considered somewhat motivic. Yet it appears to be
more reasonable to regard this short work as virtually
non-motivic.

"Antique Harmonies" consists of only twenty—five
measures in 9 time with the metronomic marking for the half
note at forty-eight. However, during a quarter of the
length of the work the string section is written injizmeter

while the winds and brass maintain 5 meter. There is one

22

irregular measure (m. 7) in which all parts are written in
2 meter. This measure is a structurally significant event
within the whole of the form by virtue of the fact that
there occurs, in the trombone parts, a statement of the
cadence-like material with the addition of an accented
Landini (under-third) embellishment. This deliberate
Landini embellishment conveys a more definite feeling of
cadence than those cadential-type passages without this
added embellishment. It appears that a true sectional
division has been articulated as almost immediately follow-
ing this the trumpets restate the cadence-like movement for
the last time during the piece. The effect is that of an
understated recapitulation preceding the close of the work.

Observation of the colors in Klee's Antique
Harmonies reveals that brown is the basic color of the
work, although there are small areas of yellow and orange.
Brown is not found in the circle of complementary pairs
since it is a mixture of the primary, secondary, or all
colors. If many colors are mixed together they will invari-
ably produce some sort of brown color. As the combination
of all or most colors in the circle of complementary pairs
produces brown, so the combination of all or most musical
intervals in the circle of complementary pairs produces a
sonic brown analogous to visual brown. Schuller's use of
high pitch class density to ”preserve" Klee's many shades
and hues of brown, is a most reasonable analogous
representation.

When yellow and orange are located in the circle
of complementary pairs, it is found that their analogous
intervals are the seventh and sixth, respectively. The
interval of the sixth is significant as a part of the
cadence-like statements found mainly in the brass parts.

(A part of the string section plays this cadence—like
material in measures sixteen to seventeen) The use of §
chords in these 'cadences' stands out by contrast of
tertian sound and pitch change to the static blocks of

23

pitches surrounding them. A more noteworthy manifestation
of the importance of the sixth and seventh in "Antique
Harmonies" is found in the first measure. Here, three soli
Violas and three soli cellos state the opening sonority of
B, C#, F#, and G#; two major second dyads within the inter-
vallic span of a major sixth. Half way through the first
measure two string contrabasses are added to play subecontna
A and great E. The total sonority created spans a major
seventh form sub-contra A to small G#. These two initial
foundational sonorities are perpetrated during the course
of the work. There are no changes in pitch or temporal
breaks. More strings are added to maintain these
sonorities as a solid background over which the foreground
of winds, brass and piano or harp, play or remain silent.
There are only two rhythmic realizations of these string
sonorities, while the wind and brass parts contain consid-
erable rhythmic variation.

The subsequent musical example is taken from the
first measure of the piece, though this same sonority is
present as a sonic foundation for the whole work.

Musical Example 3

J safi )&.
5 Jak')2,

3 5.1.- 4.5.

 

The first and second areas of analogical pheno-
mena, those of complementary pairing and tripartite
equidistance, have been discussed as being related to the
element of Quality, or color and pitch. In this work,
which is principally and uniquely based on the mixture of

24

all colors or the combination of all intervals, differentia-
tion between these first two analogic phenomena is simply
impossible. For example, in Schuller's music there is no
way to separate harmony and melody since the piece is

built upon the structural ideal of high pitch class density.
In Klee's Antique Harmonies there are just two colors--
sparingly used--other than brown that can be related to
intervals in the circle of complementary pairs. Brown is
by far the pervasive color into which others are absorbed.

The third area of analogical phenomena, that of
"modes of expression," brings to light the aspect of styl-
istic and formal parallels between the works of Klee and
Schuller. One interesting similarity between the two
works is seen in the fact that while Klee's painting
lacks a central subject, or even a primary eye-catching
shape, Schuller's work also neglects the feature of central
subject, main theme or motive. The afore-mentioned block-
1ike shapes found in both works are given depth and
differentiation only through the element of Measure. In
Klee's work this element is, of course, expressed through
line. The lines Klee uses separate one shape from another
and cause some to appear more to the foreground while
others seem to recede to the background. Rhythm is the
realization of the element of Measure in Schuller's work.
The various instrumental blocks of sound are stratified
and contrasted with others by subtle differences in rhyth-
mic articulation. The relative rhythmic activity between
the instrumental parts gives shape and depth to the music
by allowing various timbres to come forward or to recede in
interest.

Schuller's "Antique Harmonies" is certainly a
stylistic coextension of the Klee painting. Klee's various
shades of brown evoke thoughts of old oxidized metals,
sepian photographs, objects soiled by time in the melan-
choly twilight of their existence. Schuller retains this
feeling for the ancient and antique through devices of his

25

choosing. He states, ”A repeated cadence common in
fourteenth century music and the organum-like open fifths
establish the 'antique' quality of the 'harmony'."1
Schuller employs these two features for the specific pur-
pose of reinterpreting the 'antique'. These features in
addition to translation of brown, yellow and orange from
visual art to music embody the analogous phenomena present

between the two works of art entitled, “Antique Harmonies.”

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies 93 Themes pf Paul Klee, (RCA LM/LSC 2879)

 

26

ABSTRACT TRIO

 

V. "Abstract Trio"

Paul Klee painted the original Abstract Trio in

1923. The painting contains three animated linear forms
which can ultimately be interpreted only in a subjective
manner, yet strongly suggest the idea of three musical
instruments in action. Gunther Schuller in turn builds
the structure of his composition on the idea of preserving
groups of three instruments as an aural focal point. He
states;

"'Abstract Trio' is played almost entirely by

only three instruments at any given time. But

the three instruments differ during the course

of the piece, changing from the bright color of

woodwinds through the grainier texture of muted

brass and bassoon to the somber hues of low
woodwinds and tuba."1

Schuller uses five major instrumental trios to
achieve the tone values he feels to be appropriate. These
various instrumental trios at times overlap, elide or
blend to produce a through-composed, contrapuntal texture
--a sort of twentieth-century 'seamless polyphony' with
equality of voices. The following list gives the instru-
mentation of these five major trios and the measures in

which they occur.

Figure 3

Trio I-Flute, Oboe, Clarinet mm. 1-15a, 24, 35-37, 38

Trio II-Bassoon, Trumpet, Trombone

mm. 14—23. 38. 44-45
Trio III-Bass Clarinet, Contra-Bassoon, Tuba

mm. 25-28, 38, 39-40
Trio IV-English Horn, Clarinet, Horn

mm. 28-32, 38, 44-45
Trio V-Two Flutes, Oboe mm. 28, 41-42, 44-45

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies 92 Themes pf Paul Klee, (RCA LM/LSC 2879)

 

 

27

28

This listing also shows that some measures within the
piece contain up to four of these trios simultaneously or
in succession. For instance, in measure thirty-eight,

four of the trios appear in succession, each having the
duration of an eighth note. The successive order of the
trios in the musical example is III, II, IV, and finally I.

Musical Example 4

45L
t5»
kl
1&hn‘
MJL

1 .51“.

In»
film
4 if”.

‘tfiuhifi

Tdn

 

In measures forty—four and forty—five, trios II,
III, IV and V are each given a specific two—measures rhyth-
mic configuration. These four rhythmic patterns occur
simultaneously as a climax to close the piece. While the

rhythms are non-coinciding in their metric divisions and

29

create an incomprehensible conglomerate of rhythmic struc-
tures, the familiar timbres of the instrumental trios help
the listener to separate and apprehend aurally each
rhythmic configuration's part within the total structure.

Musical Example 5

 

:z- .
r- 91 F'
.-._--_ .-"". P’" ' Trio
$1.”. - —-——.=:=_—:t:=======:r=::=: V 0,4,8
1“» : ====.-_-'::=======r===== V
.II.- :=::==:_—-:===:—.:=====:‘===::1
' IV 0,1,4
tau, :'====-_:_—.-=———---—-—_—---- IV
Mott "_——====_'=.-_======- III 0,1,5
1.”. ==============
II 0,1,6
9..
Bum III
4, EEEEFEEEEEEEEEEEEEEEE?EE IV
Mm '
a.
.7 . E'§EEEEEE======
1 " -'—------—"- II
4. s.::::.‘::::.=_:E::-:— II
..... m
3. "-—— —-— _—'_
T.» --—————-=='=========== III

Schuller's "Abstract Trio" contains an abundance
of distinct, related melodic lines. These melodies consist
of a great deal of pitch class variety. The use of twelve-
tone and serial technique is evident on both the horizontal
and vertical planes of the music. Each instrument of the

trios generally maintains melodic interest of its own,

30

even when homophonic rhythm is employed. It is difficult
to decipher whether the musical texture is homophonic or
polyphonic in many instances. The first one and one-half
measures of "Abstract Trio" exemplifies these aspects.
Here the flute, oboe, and clarinet play five notes with
coinciding rhythm, articulation and phrasing. The ver-
tical structures created alternate between the pitch sets
0,1,4 and 0,1,6 while each of the melodies are unique in
their intervallic structure and pitch content. There
seems to be a struggle for predominance between polyphony
and homophony within these measures, yet together the hori-
zontal and vertical comprise the universal pitch class set
and actuate its integral distinctiveness in the total

composition.

Musical Example 6

0,1,4,6,8

)

O,3,4,6,8

/

 

The universal pitch class set is contained within several
single measures of "Abstract Trio." A particularly inter—
esting example presents itself in measures thirteen through
fifteen. Here the twelve-note set is divided into three
tetrachords--one tetrachord for each instrument of the
trio. The three instruments play only the notes of their
designated tetrachords, with each pitch class appearing in
only one specific octave. (This is certainly evidence of

Webern's influence on Schuller.) Measure fourteen is

31

particularly remarkable in that the flute and clarinet
parts both contain pitch palindromes.

Musical Example 7

 

 

. .-.——-.. -———————— ———— -—_‘
-— ——--—-.-——— -———————————_—- ——‘--a

The universal set minus one as well as the univ-
ersal set itself are both found frequently whether the
music is imbricated by measure or by obvious phrase
groups, as in measures one and two. Each musical example
presented so far contains the universal set. This aspect
of pitch class density is a common denominator between
"Abstract Trio" and the preceding piece, "Antique
Harmonies." It is therefore not surprising that the ana-
logous shades of brown--the combination of many colors-—
are to be found in Klee's Abstract Trig as well as

Antique Harmonies. However, "Abstract Trio" has other

 

structural features that result from its contrapuntal
nature which "Antique Harmony's" singular form does not
have. The intervals of the tritone and major and minor
sixths are pervasive within the melodies and vertical
structures. Sets imbricated from phrases and vertical
structures show the predominance of these intervals.
They are also seen in the intervallic patterns of the
melodies themselves. The sets imbricated from the verti-
cal structures and phrases of preceding musical examples
are noted with those examples. It is evident that the
tritone, 6, in set numbering, or the minor sixth, 8, in
set numbering, are usually the intervallic span of the

sets as a whole. The large, striking angular leaps within

32

the melodic lines of "Abstract Trio" are most often either
the major or minor sixth or the tritone. Major and minor
sevenths also play a significant, yet lesser role. The
circle of complementary pairs shows the sixth to be ana-
logous to the color orange, while the seventh coincides
with yellow. Klee's Abstract Trio displays a large

 

amount of muted orange. The orange is shaded to various
degrees by gray and also brown. Close scrutiny of the
painting also shows a yellow glow over the whole work, as
if Klee may have possibly applied a yellow wash as a
compositional afterthought.

The interval of the tritone is not found in the
circle of complementary pairs, and additional discussion
is needed to clarify its analogous color quality. Firstly,
it is necessary to recall that when a color is added to
its complement in equal parts, gray is theoretically the
result. (When mixing pigment, a nebulous gray-brown is
the usual result.) If an unequal part of a color's com-
plement is added to a color the result is a graying, or
muting, of the original color. Secondly, it is noteworthy
that the tritone is its own complement, i.e., it is the
only interval which divides the octave into two equal parts.
The complementary intervals of the perfect fourth and the
perfect fifth are situated on either side of the tritone.
A chromatic lowering of the perfect fifth results in a
diminished fifth, and a chromatic raising of the perfect
fourth results in an augmented fourth. This altering of
the two complementary perfect intervals immediately goes
a step beyond the usual major or minor chromaticism.
Perhaps the tritone's instability is more pronounced
because of its close relationship to the stable perfect
intervals that surround it, and to the octave which it
divides in two equal parts. The stability of these per-
fect intervals has a basis in acoustics and mathematics.
Beside the fact that these perfect intervals exist as the

first three harmonics (overtones) in the harmonic series,

33

it is also noteworthy that the mathematical ratios of
their frequencies are of orderly proportions, unlike other
intervals. The ratio for the perfect octave is 2:1, for
the perfect fifth, 3:2, and for the perfect fourth, 4:3.
The tritone's ratio is 7.07:5.

Throughout history the tritone has been considered
unstable. This is especially true of the Middle Ages, when
the intervals of the perfect octave, fifth, and to some
theorists also the perfect fourth, were established as the
most consonant, on the basis of their acoustical and math-
ematical properties. At this time the tritone was
scrupulously avoided in melodic lines, and appeared in
vertical structures only within prescribed cadences. The
tritone was described as "Diabolus en Musica;" translated
"the devil in music." Anonymous IV, the author of the

ninth-century theoretical treatise, Musica Enchiriadis,

 

constructed a scale in which all the fifths were perfect.

The scale starting from great G follows:

Musical Example 8

 

 

 

 

 

 

 

He then allowed for alterations of this scale, within the
music to avoid the resulting augmented octaves and fourths.
This practice shows the extreme deference given to the
perfect intervals, and the contempt held for the tritone.
In the atonal music of the present century the
tritone plays a significant role. It lends itself well to
twelve-tone music, where equalizing the tonal hierarchy is
one significant aim of the technique. Although the tritone
may seem to be but one more chromatic interval, it is a
truly gray area within the chromatic scale. As noted pre-
viously, it is a step outside of what may be considered
merely major or minor, intervallically. The tritone

34

defies the stability of the perfect fourth, fifth, and
octave which it divides equally. The dividing of the
octave into two equal parts to produce a musical gray has
its analogy in the adding of two equal parts of complement-
ary colors to produce pure gray.

In Klee's painting, the area surrounding the
muted orange oval where the forms of the 'abstract trio'
are placed is primarily gray. The translucent yellow and
opaque brown paint was apparently applied to an underlying
gray background. There is a primitive grayness about the
whole composition, as if it were an occurence in a smoke-
filled cave. The canvas has depth since the viewer can
see color through the gray and over the gray, yet precisely
what the dimensions of foreground and background are is not
clear. The abundance of tritones in Schuller's work has a
somewhat parallel effect. There is no clear tonal center
to the piece, still the music has depth, motion and dis—
tinct formal dimensions. The tritone has a primary part
in all the theoretical dimensions of Schuller's piece, as
gray is a part of all the dimensions in Klee's painting.

Chromaticism is as pervasive as the tritone in
the horizontal and vertical structures of the music.

This chromaticism is also seen in Klee's work within the
infinite variety of chromatic hues created between orange,
brown, yellow and gray. Klee blends the colors of his
palette into a perpetually graduating flux of hues. The
restless transition of the color also lends mobility to
the linear figures of the abstract trio.

The analogical phenomena of complementary pair-
ing and tripartite equidistance have been dealt with.

Modes of expression, the third area of analogical phenomena
remains to be pursued, though some aspects of this area
have been brought up in the course of the preceding dis—
Cussion. The expressive correlation between Klee's and
Schuller's "Abstract Trio"s lies within the energetic
contours contained in the forms of each. Klee's three

35

animated, angular shapes resemble musical instruments and
are translated into the angular melodies of Schuller's
instrumental trios. The lines Klee employed to create the
three figures in his painting portray an attitude of non-
sensical frolicking. There is a strong sense of differing
movements among the three figures, but the directions of
those movements are disputable. Since rhythm and line are
jointly representative of Measure, it is reasonable to
assume that the unpredictable quality of Klee's lines be
paralleled by the quality of Schuller's rhythms. These
rhythms are precise and energetic in articulating various
metric divisions and accented syncopations, yet the under—
lying rhythmic structure remains obscure as a result of
ever—changing meter signatures. There are nineteen changes
of meter in the piece, with a total of six different meter
signatures. The element of Measure in both compositions is
at once precise and defined while being obscure and undis-
cernable. Rhythmic energy is the catalyst of direction

in both works, though the beginning or end of that
direction remains indeterminate. The overlapping seamless
polyphony (not unlike that of Josquin) in Schuller's
"Abstract Trio" may be seen as analogous to Klee's use of
overlapping watercolor washes. The polyphonic voices of
the musical trios maintain equality of interest--no one
melodic line comes to the foreground to leave the others
to function as accompaniment. Klee's water color washes
portray this same equality since the viewer can detect
each separate color wash, yet finds that it is extremely
difficult to discern which of them was applied first.

The fathomless quality of the water color washes also has
the effect of obscuring whether the abstract trio figures
are within or overtop of the washes. Klee's unfathomable
background succeeds in providing a visual parallel for
Schuller's use of overlapping polyphony with equality of

voices.

36

THE LITTLE BLUE DEVIL

 

VI. "The Little Blue Devil"

”The Little Blue Devil" is the one piece among
Schuller’s Seven Studiesng Themes 9£_ggng§l g which is
representative of "third stream"1 music. The jazz-like
use of extended tertian harmonies and octatonic scale
resources in combination with extreme chromaticism,
lying somewhere between polytonality and serialism,
demonstrates the possible complexity of the style.

Schuller comments on "The Little Blue Devil" in this way:

"'The Little Blue Devil' is transformed into a
kind of jazz piece. A perky, angular theme
(my subjective musical impression of the geo-
metrically conceived head in Klee's painting)
is combined with a blues progression, altered
to nine bars instead of the conventional
twelve, and occasionally distorted assymmetri-
cally."2

The rhythmic character of the piece is also jazz-
like in its syncopation and succession. Rhythms are
varied through permutations of placement within the bar
lines, and through simultaneous utilization of borrowed
and non-borrowed divisions of the beat. Off the beat
accents occur frequently at different places in a given
voice within a single measure, adding to the complexity
and forward motion of the work.

The opening bar of "The Little Blue Devil" is a
tutti, double forte, accented chord constructed of the
superposition of various triads and extended tertian

 

1Robert Henderson, "Third-Stream Music", The New
Yorker, December 9, 1961, p. 42

2Gunther Schuller, jacket notes for Schuller,
Seven Studies 9g Themes 92 Paul Klee, (RCA LM/LSC 2879)

 

 

37

38

structures distributed among separate instrumental groups.
This emphatic chord constitutes the universal set,
although it is composed of tertian structures; a charac-
teristic feature of the harmonies employed withinrtflfip
total work. (See musical example 9) The tertian structures
of "The Little Blue Devil", when combined, preclude that
they have a specific tonal function. Schuller created an
amalgamation of tertian structures and high pitch class
density, simple and complex rhythms, and blues progression
structure and classical sonata form. Figure 4 provides a
brief overview of "The Little Blue Devil's" sonata form
features, which will be elaborated on in subsequent

discussion.

Figure 4: Sonata Form in "The Little Blue Devil"

Opening: mm. 1-4
First Theme: mm. 5-11
Transition: mm. 12-14
Second Theme: mm. 15-32
Development: mm. 34-63
Section 1: mm. 34-43
Section II: mm.44-54
Section III: mm. 55-63
Retransition: mm. 63-64
Recapitulation: mm. 65-75 (return of Theme II)
Closing: mm. 76-79

Since "The Little Blue Devil" is not a tonal work, the
reader may. question how .or what it is that makes each
formal component recognizably related to sonata form.
Another question which may arise is how does Schuller's
nine-bar blues progression fit into the scheme. Firstly,
the opening and closing four measures are distinguishable
in that they parallel each other by dually consisting of
an emphatic tutti chord followed by three measures of
leisurely jazz percussion material. After the opening
tutti chord, the percussion plays alone until the first
theme enters in measure five. Schuller follows this
pattern in the closing four measures with two slight modi-
fications; the string pattern holds its chordal notes to

39

Musical Example 9

Til .
T
ll"

3...
III
~"

TT TN
| TTT T

.|
"IT
I
T

TTT TT
IIll
Tl T

TTT

 

40

the end while the solo string contra-bass plays it first
theme material.

The first theme is rather abstract in that it
consists of the interpolation and juxtaposition of quick,
angular string 'riffs,‘ spasmodic percussion patterns,
fragmentary string contra-bass motives, and accented
brass and horn chords. These elements disappear at the
transition to the second theme, but reappear in the dev—
elopment section, true to sonata form. Since no tonal
modulation may take place between the first and second
themes, the transition must be effected in another way.
Schuller uses three independent bars of string contra-
bass progression to move forward smoothly from first to
second theme. These three bars are seen to be indepen-
dent in retrospect as they are not part of a nine-bar
progression, as are the eighteen bars which follow.
These eighteen bars are delineated into two groups of
nine by repetition of three twelve-note sets having the
duration of three bars each. All notes in the string
contra-bass progressions are quarter notes, excepting
occasional triplet divisions of the beat, true to jazz

stylization. The first nine-bar progression begins on the
second beat of measure fifteen and continues to the first

beat of measure twenty-four. It is immediately repeated,
ending on the first beat of measure thirty-three. This
repetition is strict excepting the final four notes of the
last twelve-note set, where the succession of Eb, A, C, C#
becomes C, F#, G#, G. The entire eighteen bars begins and
ends with the second theme.

The pattern of changes in the contra-bass progres-
sion logically accomodates the sectional changes in the
sonata form. Figure 5 on the following page shows the
correlations.

It is important to note that all the progressions
from the develOpment to the closing, end on the pitch B.
It is also noteworthy that whether the cardinal number of

41

the set used is eight, as in the two measure components,
or twelve as in the three measure components, pitches are
rarely duplicated.

Figure 5
SONATA FORM SECTIONS BASS PROGRESSION DIVISIONS
Opening Tacet
Transition Contra-bass fragments
Transition Independent three-bar pro-
gression
Second Theme Two nine-bar progressions
Transition Five descending chromatic
notes: E, Eb, B, C#, C
Development
Section I Ten-bar progression 2-3-3-2
(2=2 mm. or 8 notes; 3=3 mm.
or 12 notes)
Section II Seven-bar progression 2-3-2
Section III Nine-bar progression 3-3-3
Retransition No solo contra-bass. C.B.

section plays five ascending
notes: C#, E#, F#, A#, B

Recapitulation Eleven-bar progression 2-3-3-3
(Second Theme)

Closing C.B. section on the pitch B
Solo C.B. plays first theme
fragments

The second theme of "The Little Blue Devil," that
which Schuller acknowledges as the primary theme of the
work, is stated initially in fragments played by the
trumpet. The three fragments appear in Measures fifteen,
eighteen, and twenty-two, accompanied by a thinned texture
of string bass, cymbals, and chords played by the horns.
The theme is reiterated completely and without interrup-
tion in measures twenty-four through twenty-six on the
same pitch level.. It is stated twice more, without pitch
alteration, but with cumulative rhythmic complexity in
measures twenty-seven through twenty-nine and twenty-nine
through thirty-two. (See musical example 10)

Musical Example 10

7n.2?'29

yfl

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As a transition from the exposition to the devel-
opment section, the string bass plays six descending
chromatic notes, from E to B, while the rest of the strings
play a flurry of notes reminiscent of their first theme
material. The string bass arrives at the pitch B as the
development section begins. Each string bass progression
throughout the remainder of the work is delineated by end-
ing on the pitch B. Schuller also uses B as the bottom
note in the chord which sounds for the closing four
measures of the piece.

Within all three sections of the development,
the initial two or three notes of the second theme are
utilized frequently. The first section (measures forty—
four to fifty—four) contains numerous major sevenths, many
of which maintain the original pitches and descending
motion of the opening two notes in the second theme. The
middle section of the development is for the most part a
Vibraphone solo with sparse accompaniment. In both solo
and accompaniment material, falling and rising major
sevenths are plentiful. The configuration formed by the

first three notes of the second theme is also apparent in

43

this section's vertical and horizontal structures. Once

again these notes appear most often at the original pitch

level.

Musical Example 11_

Mm. 47-48

PM

1.1.”-
. "o

‘0“.
«LGMF'

«admw

 

 

 

 

 

 

 

 

 

 

 

 

 

Vhd.

VIM.

 

The vertical configuration of a minor second and

tritone (0,1,6) is profuse in the third section of the

development.

This configuration often appears on the

original pitch level of the second theme from which it is

derived.

Octatonic scale resources are also apparent in

the jazz-like melodic lines which flow through the string,

trumpet and Vibraphone parts.

The retransitional measure

before the recapitulation of the second theme contains the

44

most distinct use of octatonic scale resources within the
piece. Schuller employs an ascending sequence of sixteen
notes of an octatonic scale beginning on E, accompanied
by chromatically rising vertical configurations of 0,1,6,
also an octatonic scale derivative. The entire orchestra
is involved in this measure with many unison doublings,
although only the strings are shown in Musical Example 12.
Another noteworthy feature of this measure is the string
bass sectitufls ascending symmetrical five-note pattern.
This pattern ends on the pitch B, as the recapitulation
begins--a free inversion of the six-note transition into
the development.

         
   
 

-—--‘.-.- ---—-——— —-

I
T

Musical Example 12 "~44... -'— -——=-=-----:_..--'_‘_-.

38h : 5i==L§:;==ni:==.:r===3u
Vt T m- “'—
3nN|,_ :====§1===;:===:====:1=
V" :- '
“m Tr éi§=§EEr=§
1uh

a.

M :=————=—_='

In the recapitulation, Schuller restates only
the second theme at the original pitch level and with the
orchestration of the first unfragmented statement. Again,
as in the exposition, he varies the rhythm and phrasing
with each reiteration. Within the final two statements of
the theme the last three pitches are reordered from B,D,F
to D,B,F.

Paul Klee's composition The Little Blue Devil
was painted in 1933, seven years before the artist's
death, and is the latest of those works chosen by Gunther

Schuller. Since blue was chosen to color the painting's

45

subject and to appear as part of the work's title, it is
apparent that this color and its analogous interval from
the circle of complementary pairs will most likely be
the outstanding parallel between Klee's and Schuller's
works. The circle of complementary pairs shows blue to
be analogous to the major or minor third. The analysis
of Gunther Schuller's "The Little Blue Devil" relates that
the third, or tertian structures and contours are a major
feature of the music. Even the use of the octatonic scale
involves tertian structuring to a degree.

Klee's The Little Blue Devil presents many hues,

 

tints, and shades of blue. The blues are primarily tinted
toward the lighter side, though the dark umber of the
background has a deepening and solidifying effect on the
translucent light blues. Since the string bass part is
the background or bottom of Schuller's sonic structures,
it relates favorably in formal and color correlation to
Klee's dark brown background. As discussed previously in
the analysis of "Antique Harmonies" and "Abstract Trio,"
the color brown, as a mixture of many colors, is analogous
to high pitch class density. The string bass progression
is certainly representative of high pitch class density in
that it is basically a succession of twelve-tone rows.
The blue intersecting and overlapping geometric shapes
which make up the blue devil's head are a fitting parallel
to the overlapping tertian triads and extended tertian
structures which appear above the string bass progression
in Schuller's composition. The angular nature of the
devil's head is not only portrayed by the intervallic
leaps of the second theme, as Schuller suggests, but is
noticeable in accentuated leaps which appear in all sec-
tions and voices.

The many alterations in the quality of blue
within the geometric shapes of The Little Blue Devil

 

correlate well with the chromatic alterations of the ter-

tian structures and melodic lines of the music. Both the

46

horizontal and vertical aspects of Schuller's music convey
a feeling of tonal or tertian solidity and chromatic rest-
lessness. For instance, after the exposition, the string
bass progression moves from the pitch B through its series
of notes and returns to the pitch B, time and again.
Although the pitch B is a type of tonal center, the fact
that each series is usually a twelve-tone row makes it
nearly impossible to detect tonal direction at any given
moment. Another example of this combination of solidity
and instability is seen in the numerous distinctly tertian
structures in the piece, which give no feeling of tonal
center as a result of chromatic succession or simultaneity.

Many triads and extended tertian chords in
Schuller's music occur in inversion, so that the resulting
major or minor sixth appears in those structures. The
circle of complementary pairs correlates the sixth with
orange. As the sixth is the inversion--or complement--of
the third, orange is the complement or inversion of blue.
,It is both visually pleasing and analytically fitting that
blue's complement, orange, should appear in the painting
as the counterpart to inverted tertian chords. This
accounts for the long rectangular strip of orange at the
blue devil's throat at the bottom of the painting.

The area of analogous modes of expression, brings
to light an enigmatic sort of dualism within both works.
In the painting we see a contrast between the humorous and
serious, as well as the earthly and the spiritual. The
title, "The Little Blue Devil," conjures up an image of an
humorous or cute prankster. On the other hand Klee's
angular abstraction of the little devil's head is rather
ominous and haunting. The viewer may wonder what deeper
meaning or other-worldly message Klee is attempting to
convey. This same, almost paradoxical, aspect of dualism
appears in Schuller's music in the simultaneous use of
solid tertian structures and extremely active chromaticism,

as well as in the combination of jazz and classical

47

elements. Schuller seems to weave in and out of the three
octatonic scales in both melodic and harmonic perimeters
as a means of intuitively avoiding a tonal center, while
maintaining an aesthetically pleasing balance. Both com-
positions hold much more than meets the eye or ear in

substance and complexity.

47a

THE TWITTERING MACHINE

 

 

VII. "The Twittering Machine"

A study of Gunther Schuller's "The Twittering
Machine" reveals that the work consists of two important
alternating sections. The form of the piece is that of an
asymmetrical five-part rondo. Each time an A or B section
returns it is reduced in length. Although the material
which makes up the A sections is considerably shorter by
comparison to the B sections, it is of primary importance
as an organizational factor. The A section material pro-
vides a stable point of reference to contrast with the
pointillism of the B sections. This foundational material
consists of three layers of ostinati made up of short
repetitive motoric rhythms. The ostinati begins;hionly
two layers, the first played by divisi Violas and the
second by the horn choir. Horizontally, the pitches which
constitute both layers of ostinati are D#,E,F, and Gb. The
pitch content in all three layers of ostinati is invariant.
Vertically, the pitches found in the viola parts are E,F,
and Gb on each division of the half masure into sixteenth-
note sextuplet figures. In the ostinato that is played by
the four horns, the vertical structures again consist of
D#,E,F, and Gb on each division of the four sixteenth-note
groupings present. In the uppermost layer of the ostinati,
played by oboes and English horn, both the horizontal and
vertical pitches presented are E,F, and Gb, on each divi-
sion of the quarter-note triplet figures. The only
intervals present in the ostinato layers are those of the
second and third, both horizontally and vertically. (See
Musical Example 13)

The circle of complementary pairs shows that the
intervals of the second and third correspond to the colors

purple and blue respectively. The colors predominant in

48

Musical Example 13

 

Klee's painting are indeed purple and blue. A tinge of

red is also evident, and as red is analogous to the fifth

in the circle of complementary pairs, it is noteworthy

that the perfect fifth appears periodically in the point-
illistic sections of the music. These pointillistic
sections are non-melodic and rhythmically obscure--beginning
with thin, sparse pointillism and growing denser through the
use of quicker successive rhythms, then returning to spar-
sity through a thinning of the vertical texture. When the
pointillistic material is imbricated measure by measure to
determine the presence of a consistent pitch structure, it
is found that the intervals of the second and third are

again predominant. In the thirty-five measures of the

50

firstIBSection the pitch class set 0,1,2 or 0,1,2,3 are
present in thirty—three of the thirty-five measures.

(These two sets are realized in the A section as E,F,Gb

and D#,E,F,Gb.) Many of the larger pitch class sets pre-
sent are combinations of 0,1,2 and 0,1,2,3 separated by

the interval of the third, such as the set 1,2,5,6,7 or
0,1,2,3,5,6,7. The interval of the fifth, or 0,7 in set
numerology is present in thirty of the thirty-five measures
of the first B section. ‘A particularly articulate occur-
ence of the perfect fifth is found in measures twenty-five

to twenty-six in the piccolo part.
Musical Example 14

~‘0'09000' on. o .o» 00-000..

The last return of the A section is condensed

    

into one measure in the penultimate measure of the work,
while the last measure contains the pitch class set
0,1,2,3,6,7 as a type of final cadence chord for the whole
piece. (This set may be considered a nexus set for the
work, since it bears strong relationships to the pointil-
listic sections as well as the ostinati.)

Musical Example 15

5.1.2.

4.3:“.

 

51

The figure below shows the organization of the A and B
sections within the total form of ”The Twittering
Machine."

Figure 6

Section A Ostinato of three motoric rhythms
Measures 1-8

Section B Pointillism Measures 5-40

b1--sparse pointillism
Measures 5-16

b2--becomes denser horizontally
i.e., quicker rhythms
Measures 17-34

b3--thinning vertically
i.e., diminishing successive
density
Measures 35-40

Section A Return (simultaneous with b1
pointillism)
Measures 41-43

Section B Return of b2 material

Measures 44-50 are a literal return

of measures 21-32

Measures 51-54 are a modified return

of measures 33-36
Rhythm remains intact accepting
a few absent notes
Pitches are altered by various
intervals

Return of b3 material

Measures 54-59 Texture thins
vertically

Section A Measure 60
Measure 61 Set 0,1,2,3,6,7

Consideration of the analogical phenomena of tri-
partite equidistance reveals that the harmonic language
of both Klee's and Schuller's compositions is that of
limited chromaticism. Klee once spoke of the ”chromatic
keyboard of the adjacent watercolor cups."1 Evidence of

 

1Will Grohman, Paul Klee, (Harry N. Abrams, Inc.,
New York, 1954), p. 372

52

this chromaticism can be seen in the various hues of
purple, blue and red used in The Twittering Machine.

He limited his chromatic palette to these three colors

in much the same way Schuller limited the number of pitch
classes in his chromatic ostinati patterns.

Within the third area of analogical phenomena,
modes of expression, there exists interesting stylistic
relationships between the two compositions. The aspect
of chromaticism superimposed on a limited pitch or color
palette extends itself in both works. Schuller's osti-
nato of three layers is limited to four chromatic pitches,
as Klee's background of watercolor washes is limited to
blends and hues of three basic colors. The layering and
blending of the three different motoric rhythms may be
seen to correspond to the layering and blending of the
purple, red, and blue water color washes.

The Twittering Machine, like many of Klee's

 

paintings, portrays a sketch-like, youthful drawing style.
The composition almost seems to have become structurally
coherent through some unlikely happenstance, yet composi-
tional organization and control are the outcome of its
elements. The visual impression of Klee's painting is
that of a whimsical and angular mechanical contraption.
One might certainly contend that Schuller's use of musical
pointillism evokes a similar visual image of a multitude
of cacophonous birds singing at melodic odd angles to each
other. The aspect of the mechanical may also be detected
in the rotating pitches and symmetrical rhythms of
Schuller's ostinati. This mechanical impression of a sort
of controlled randomness is also sensed in the pointillism
of the B sections. The repetition of certain pitches, and
the gradual quickening and thickening to slowing and thin-
ning of the texture, gives the listener a feeling of
balance and control within the sounds of erratic and quick
melodic leaps. An aura of improvisatory creativity and
mechanical ingenuity is present in each of the works.

53

ARAB VILLAGE

 

VIII. "Arab Village"

The fifth of Gunther Schuller's musical settings
of Paul Klee's work is entitled ”Arab Village.” The
painting was completed by Paul Klee in 1922. Schuller
gives a description of the painting in the following
words"

"Arab Village is an abstracted aerial view of a
town baking in the bright North African desert
sun. A beholder of such a scene--floating, as
it were, above the village, might hear the often
simultaneous chant of Arab melodies: The melan-
choly distant flute, blending with throbbing
drums and the nasal tunes of the oboe.”

 

The form of Schuller's "Arab Village" is similar
to that of the "Twittering Machine" in that it is an
asymmetrical five-part rondo, with the return of A sections
becoming shortened in subsequent appearances. In "Arab
Village," repetition is an integral aspect of both small
and large structures of the music. For example, the
first A section within the A B A' C A" form consists of six
melodic phrases for offstage solo flute, of which the last
two phrases are a repetition of the first two, while the
second phrase is a repeat of the first with minor rhythmic
changes and embellishments. The repetition extends further
in that the third phrase also parallels the first, though
with greater rhythmic change and pitch modifications. The
fourth phrase, in contrast, begins on the pitch B, and
closes on F#: a reverse of the beginning and closing
pitches of the first three phrases. This third phrase
seems less final as it closes on what could be considered

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies 93 Themes of Paul Klee, (RCA LM/LSC 2879)

 

54

55

the dominant pitch of a scale contained ix: the preceding
phrases. The antecedent-consequent function of these
phrases seems to have been reversed. This arrangement
leaves the listener suspended on the open ending, which is
not unlike a half cadence. As the flute fades into silence
at the end of thezisection. Schuller transfers the melodic
interest to solo oboe for the duration of the B part. The
oboe is accompanied by a dense static drone of the string
section--which entered with the repetition of the first two
phrases of the A section--and by two tuned tom-toms, which
entered during the fourth phrase of the A section. Within
the oboe melody, repetition is apparent on the level of two
to five note segments.

Musical Exam le 16
wfiifi

1£$u:'7

 

 

 

     

/ ‘

  

3 a

The first return of the A section is a strict

replica of the original solo flute melody (measures one to
eighteen) excepting rhythmic augmentation and minor note
changes in the final three measures of the fourth phrase.
The string accompaniment becomes mobile, though these
slow-moving changes are also repetitive.

The C section is a distinct contrast to the pre-
ceding sections by virtue of its quicker tempo (MM=136
rather than 50), its length (127 measures of the total
200) its orchestration, use of quarter tones, and limited
pitch material. The compositional feature of repetition
reaches it zenith within this section of the piece. It is
played by solo oboe, harp, and solo viola in unison, above
a perpetual cello drone on the pitch A in the octaves
above and below middle C. Only five pitches-~A,B,C,D,E--

56

beginning on A 440, are used within this chant-like,
hypnotic melody, with the pitches B and E consistently
lowered by a quarter tone.

The final return of the A section further abbrevi-
ates the original appearance by including only the first
and the fourth phrases. Schuller reverses the first three
measures of the fourth phrase to become the last three in
this closing statement. The following diagram gives a cap-
sule overview of the content and length of formal sections.

Figure 7

Section A Solo flute mm. 1-28
First phrase mm. 1-4
Second phrase mm. 5-8
Third phrase mm. 9-12
Fourth phrase mm. 13-18
Repetition of first and second
phrases mm. 19-28

Section B Solo oboe mm. 29-40
Accompanied by strings and tuned
tom-toms

Section A' Solo flute mm. 41-59
Repetition of original four phrases
accompanied by strings and timpani
tuned to major seventh mm. 55-59

Section C Unison oboe, harp and solo viola
mm. 60-188
Accompanied by cello drone

Section A" Solo flute mm. 189-200
First phrase--no accompaniment
Second phrase--string accompanimnet
The painting, Arab Village, is tinted with various
hues of yellow and tinged with deep red. In the circle of
complementary pairs the colors red and yellow coincide with
the intervals of a fifth and seventh, respectively. These
two intervals hold a major functional role in the contours
and structures of the melodic lines within Schuller's
music. These melodies contain characteristics of harmonic
minor scales as well as certain church modes. A study of
the pitches contained within the first phrase of the solo

57

flute melody may be interpreted as a seven-note scale
beginning on either B or E. In both interpretations, a
step and one-half from lowered sixth to leading tone
seventh, suggests the harmonic minor scale. These interpre-
tations, however, are complicated by the presence of both
C and C# in the melody. As the listener assimilates the
melody, most likely the pitch B will sound like the final
or tonic note of the melodic structure. The scale con-
structed from the melodic notes starting on B is as
follows:

B,C#,D#,E,F#,G,A#,B,A#,G,F#,E,D#,C,B

The descending version of this scale resembles what might
be called an E hypo-harmonic minor scale. If E is used

as the tonic of final tone of the same melodic notes, the
following scale is constructed:
E,F#,G,A,B,C#,D#,E,D#,C,B,A,G,F#,E

This scalar construction is an unusual combination of
melodic and harmonic minor scales, though it is more char-
acteristic of common practice Western music theory than
the scale constructed on B. The step and one-half leading
to the penultimate note followed by another half step

(D# to C to B) in the descending form of this scale is not
characteristic of any long-established Western scale or
mode. However, the scalar resources of "Arab Village"
melodies are not drawn from ordinary Western resources.
Schuller states:

"In preparation for the piece,:[consulted
numerous musicological sources on Arab music
(including works by Bartok and Hornbostel),
and used either authentic Arab folk material
or very close adaptations thereof."1

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies on Themes of Paul Klee, (RCA LM/LSC 2879)

 

 

58

It is evident that relationships of the perfect fifth
(such as B to F# or E to B) play a major role in Arab
melodies. It is also apparent that the seventh scale
degree, or leading tone function is employed to a large
extent. These relationships are conspicuous in many
melodic constructions within the piece. The previous
musical example is marked to show these structural
features. Additional examples, including the flute

phrase discussed previously are shown below.

Musical Example 17

 

 

 

 

59

The dark brown lines of Klee's Arab Village
seem solid and stable in comparison to the ethereal yel-
lows and reds which seem to be floating above the village
structures. In the music, the dense harmonies underlying
the haunting flute and oboe melodies are analogous to
these brown lines in formal function as well as quality.
Again, a dense mixture of several colors, producing brown,
parallels a dense combination of several pitches. In
measure twenty-three, the string section combines to
produce a dense seven-note structure. The static sound
of this pitch conglomerate provides a stable understructure
over which the melodies seem to float.

Expressive parallels between the two "Arab
Village" compositions can be seen in the feature of
repetition found in both works. Repetition of large and
small patterns in the music may be considered analogous
to the repeated parallel lines and duplicated linear
shapes of many sizes which portray the Arab town. Klee
gives the viewer an aerial perspective through bright,
though translucent, colors. These features give the
impression of thin atmosphere above the scene, and distant
images shimmering below in the intense heat of noon-day sun.
Schuller captures these impressions of thin air and distant
floating shapes with the haunting sound of the offstage
flute, the thin nasal tone of the oboe, the suspending
quality of the scalar resources used in the melodies, and
the generally sparing orchestration employed throughout
the work. Both compositions are successful in taking the
viewer or listener on a journey to the mideast via the
mind's eye or mind's ear.

60

AN EERIE MOMENT

 

IX. "An Eerie Moment"

The sixth piece in Schuller's Seven Studies ea

 

Themes 9: Paul Klee is based on a Klee pen drawing rather

 

than a painting. The drawing, Ag Eerie Moment, was done

 

in 1912, early in the artist's career. Since the drawing
is black ink on a white surface, the first two areas of
analogical phenomena (complementary pairing and tripartite
equidistance) are not applicable since they exist only in
relation to the element of Quality. Parallels between
analogous colors and pitches, combined colors and harmonic
structures have no place in a discussion of this piece.
However, the third analogical area, that of modes of
expression, is pertinent. Schuller comments that, "The
music of 'An Eerie Moment' is a musical play more on the
title than on Klee's actual pen drawing." It is interest-
ing and perhaps no coincidence that Schuller chose to
compose a setting based more on Klee's title than the
artwork itself, since the sole area of analogical pheno-
mena which may function between the two works is that of
modes of expression.

The original German title which Klee gave to his

drawing is Ein unheimliche Moment. Schuller explains,

 

"The German word 'unheimlich' is practically
untranslatable by a single English word, having
a connotation of 'eerie‘ but also of
'unearthly' and 'terrifying'."1

Schuller's music is not totally unrelated to the content

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies ee_Themes 93 Paul Klee, (RCA LM/LSC 2879)

 

61

62

of the artwork, which can be attested to by his comment:

"I have also tried to convey the atmosphere
created by the slinking shapes of the picture.
The strange ominous tension of the opening
finally finds sudden release in two terrified
outburets, only to sink back into oblivious
calm."

The two terrified outbursts, as alluded to above,
occur in the last four measures of the eighteen-measure
work. Extremes of dynamics and register add an awesome
force and brilliance to the moment. Within the penulti-
mate measure two piccolos double with violins on b4,
while tuba, contra—bassoon and string bass sink to
sub-contra Eb. The contra-bassoon plays a sub-contra D in
the final measure. Double forte to subito piano entrances
occur in the winds and strings, only to return to double
forte and join forces with blaring brass attacks. This is
all followed by an "oblivious calm" mezzo piano, to piano,
to a double piano ending. (See musical example 18)

Throughout the preceding fourteen measures the
"strange, ominous tension" Schuller speaks of is acheived
through the use of special string effects, sudden dynamic
changes and accents, imaginative percussion orchestration
and employment of the extreme registers of the instrumen-
tal choirs. In this work Schuller's string writing often
consists of soft pizzicato and simultaneous non-vibrato
playing. Both natural and artificial harmonics play a
significant role in portraying the desired eerie, unearthly
effect, as well as bowing on the bridge of the instruments.
One particularly interesting moment in the string section
consists of a brief motive which employs simultaneous sul
ponticello and pizzicato articulation in overlapping

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies ee Themes 2: Paul Klee, (RCA LM/LSC 2879)

 

63

Musical Example 18

1-

 

64

instrumental pairs. This short phrase grows from a mezzo
piano to forte dynamic level within a few seconds.
Schuller uses many sudden dynamic accents and changes such
as this to provide both added tension and momentary release.
(See musical example 19) In measure eight muted brass plays
three tenacious accents growing from double piano to forte
in less than a single beat. (See musical example 20)

Many examples of unusual percussion writing are
apparent within ”An Eerie Moment.” Tne timpani provides a
constant menacing roll on E and F# for sixteen of the
eighteen measures of the piece. In the two measures where
the roll is absent Schuller adds two more timpani which
are tuned to middle C and great G, and constructs a soft
angular, rhythmically irregular melody before returning
to the roll. The bass drum part is unusual in that the
drum is tuned to great C# and employed in thundering rolls
which make erratic appearances at many dynamic levels.
The claves are placed 'on a pad' and played with a triangle
beater, producing a sharp, severe articulation which brings
to mind the stark severity of the two human forms within
Klee'swork. Schuller communicates an aura of suspense and
dread through unpredictable entrances and withdrawals of
striking aural effects occuring in the various instrumental
groupings. A fear of the unknown and alien is suggested
by a continuous succession of sound events within the work.
These emotions of dread, suspense, and fear of terrifying
uncertainties are those which are portrayed so intensely
by Klee's composition.

The element of Measure, exemplified by line in
art and rhythm in music is the basic analogical correlation
between these two works. Schuller's rhythms are as diverse
and varied as Klee's linear figures. However, Schuller is
not attempting an analogous portrayal of Klee's lines.
Rather, he attempts and succeeds in capturing the expressive
effects which those lines initially convey.

Musical Example 19

IRH

CL

 

Musical Example 20

11.
Kn:

M.

‘9.

m

37h“.

 

66

PASTORALE

 

X. “Pastorale

The last of the Seven Studies on Themes of

Paul Klee is entitled "Pastorale"--Klee also subtitled

 

his work Rhythms. Therefore, it is fitting that Schuller
describes the structure of his music as a variation form
on rhythms. He states, "As in Klee's painting, several
rhythmic-melodic shapes occur on various register and
speed levels."1 In the painting, circles, arches, crosses,
X‘s, diamond shapes, tree-like and star-like patterns in a
variety of repeating configurations, cover the canvas from
top to bottom. The impression is that of an excercise in
hieroglyphics, with each successive line being a repeti-
tion of a different pattern of symbols. Schuller, like
Klee, uses differing patterns on several simultaneous
levels. Both compositions contain broad and curvilinear
patterns, broad and angular patterns, and smaller patterns
which are simply decorative shapes.

In both the horizontal and vertical structures of
the musical "Pastorale", the intervals of the perfect
fourth and the tritone are seen to be fundamental to the
structure of the total work. They are prominent in the
foreground melody of the clarinet, and in the vertical
configurations of combined underlying accompanimental
levels of rhythmic-melodic materials.

The minor second plays and important role as a
chromatic connecting interval--though not a fundamental
one--and appears as a link between melodic perfect fourths,
tritones and major or minor thirds. Schuller's music also

 

1Gunther Schuller, jacket notes for Schuller,
Seven Studies ea Themes 2f Paul Klee, (RCA LM/LSC)

 

67

68

contains continuously oscillating two-note figures con-
sisting for the most part of minor seconds. These
two-note figures are treated sequentially to create
rising and falling melodic lines. The rise and fall of
these arches, and their vertical relationship to simul-
taneous rhythmic-melodic patterns, take precedence over
the presence of the interval itself. These arching
patterns blend with each other, so that the vertical or
collective structures absorb the independent content of
each separate line.

Collectively, the levels of arching rhythmic—
melodic patterns seem suspended, or in some way
rhythmically disconnected, since the beginning and/or
ending of each pattern does not always coincide with that
of other simultaneous patterns-~nor with the bar lines.
The layers of rhythmic-melodic lines are rhythmically
independent of each other, inasmuch as each of the two-
note patterns divides the beat into either two, three, or
four parts. When all of these divisions are played
together, they seem to be moving counter to each other,
since they are not synchronous between any two levels. Of
course, the combinations of these various rhythmic-melodic
materials do create harmony. Yet the harmonies of the
combined levels are constantly fluctuating, as each level
oscillates within and between its own two-note groupings.
Neither the independent separate layers, not the harmonies
created at any instance by their combination, seem to be
of great importance. Thus, the total effect of the com-
bined levels is unique. The patterns mesh together to
make a new rhythmic-melodic pattern; a sort of motoric
counterpoint, not unlike the A sections of the "Twittering
Machine." (See musical example 21)

The circle of complementary pairs shows that the
musical "Pastorale's" fundamental interval, the perfect
fourth, corresponds with the color green. The tritone
and its analogous color quality, gray, was discussed at

Musical Example 21

VIM.

Va.
Vc.

CL

 

 

length in chapter V. As the tritone's quality coincides
with gray, and tritones are profuse in the music, it is
sensible to relate the muted—-or grayed-—greens of Klee's
Pastorale to the tritone in Schuller's music.

The integral function of the perfect fourth and
the tritone can be seen more clearly with a close examina-
tion of the music's solo and accompanimental materials.
The clarinet part contains the most intervallically varied
and angular material within the piece. This idyllic
melody is basically a series of perfect fourths and tri-
tones connected by half steps. A recurrent rising or
falling five-note motive occurs on a number of tonal levels

with a variety of slight modifications.

Musical Example 22

 

 

 

 

 

70

The vertical structures occuring in the layers of
rhythmic—melodic material also evidence the importance of
perfect fourths and tritones within the piece. Several
vertical tritones and perfect fourths are formed as the
two-note rhythmic patterns move against each other. At
times, simultaneous two-note groupings are a tritone and/or
a perfect fourth apart. For instance, within the first two
beats in measure thirty-four the two-note group in the
second violin part is D and Eb, while the two-note group
in the viola part is G# and B, a tritone away. In the
following musical example there are several occurrences of
the perfect fourth and tritone among the three inner voices
-—these intervals are also formed between the outer voices
and inner voices as well.

Musical Example 22

VI“.
Wu.
Va.
Vc.

Ct

 

The major and minor third also play a part in
Schuller's "Pastorale." The role of the third and its
analogous color, blue, is comparatively small, yet sig—
nificant within both "Pastorale" compositions.

As in many of Schuller's musical settings, the
harmony of "Pastorale"is extremely interrelated with
melodic materials of the piece. Within both melody and
harmony, the tritone-fourth, or so—called "Viennese fourth

chord" appears in either a disjunct or reordered fashion.

71

The many minor seconds--or extreme chromaticism of the
music, is relative to the varying mixtures of green and
gray in the painting. As motives and patterns of the
music are transposed by minor seconds to various levels
of pitch and interest, the many different chromatic
hues of green and gray give Klee's limited palette
seemingly limitless variety.

In the analogical area of modes of expression,
it is interesting to consider what it is that creates the
aura ofa Pastorale in these two compositions. A defini-
tion of Pastorale in the Harvard Dictionary 9: Music is,

 

"An instrumental of vocal piece written in imitation of

shepherds and their pipes."1 Webster's Dictionary gives

 

this more general definition: "Pertaining to shepherds;
rustic, rural; description of the life of shepherds or of
a country life. . .[in regard to music] a simple melody
in six-eight time in a rustic style."2 In commenting on
his music, Schuller states, "The pastoral quality of the
clarinet, French horn and English horn underlines the
suspended mood of the music."3 To Schuller, the shawns
and pipes of sheperds are echoed in the meandering melodies
and pensive phrases played by clarinet, French horn and
English horn. The "suspended" nature of the pastoral
scene is portrayed musically through the atonal content
of the melody and harmony, and through the layers of
unsynchronized rhythmic patterns. The continuous under-

currents of rhythmic-melodic patterns may be heard to

 

1Don Michael Randel, "pastorale," Harvard Concise
Dictionary 2: Music, p.374

2Article "pastoral," The New Webster Encyclopedic
Dictionary 9; the English Language, (edited by V. Thatcher
and A. McQueen, 1971), p. 607

3Gunther Schuller, jacket notes for Schuller,
Seven Studies 92 Themes 9: Paul Klee, (RCA LM/LSC 2879)

 

 

 

 

 

 

 

72

represent time and gentle breezes passing quietly together.
The music is at once static and suspended, uneventful, yet
pleasantly engaging. It easily evokes the image of a
shepherd daily going out to the pasture to tend his docile,
predictable flock. The music reflects an uncomplicated
lifestyle, involved only in meeting the basic needs of
living. Klee's Pastorale portrays this same simple, rustic

 

routine of country life through the carelessly duplicated
designs in the layers of repeated patterns. The strip of
blue and many shades and hues of green bring to mind a
verdant pasture with the clear blue sky overhead. Klee's
symbology also portrays aspects of nature. Stars, trees,
and bushes appear in the rows of configurations. The
repeated arches may bring to mind architecture seen in
many idyllic Italian Renaissance paintings. The structure
of Klee's work expresses a feeling of suspension, much
like that of Schuller's work. The deep green lines super-
imposed on a fathomless background, a lack of calculated
perspective, and the transparency of the watercolors all
produce an effect of ethereal openness.

Together, the two "Pastorale" compositions
skillfully translate pastoral scenes into poignant artistic

statements.

CONCLUSION

Though the analogies discussed in a theoretical
context and within the context of the works themselves may
not be proven as absolute, there is substantial evidence
that these same analogies are not a mere coincidence.
However, it may be noted that within the works of Schuller
and Klee, a distinction between the elements of complement-
ary pairing and tripartite equidistance is difficult to
discern. This may be accounted for by the fact that
twentieth-century harmonic content is often organized by
the same procedure as melodic content; or is the outcome of
multiple melodic processes. Although certain theorists
(Schenker, Forte, Kraft) hold this same view in regard to
common practice period harmony, most view common practice
harmony as a process separate from the melodic process.
The lack of differentation between color harmony and
melody in Klee's works and analogous musical harmony and
melody in Schuller's works may serve as support for the
Schenkerian view, or simply as evidence that composers of
twentieth-century music generally differentiate little

between melody and harmony in their formal procedures.

73

BIBLIOGRAPHY

Bluh, Otto, Principles and Applications of Physics,
(Interscience Publishers Inc., New York,
New York, 1955), pp. 405-413

COpland, Aaron, The New Music 1900-1960, revised and
enlarged edition, (W.W. Norton and Co,. New
York, 1968). PP.70-7l

Ewen, David, Composers of Tommorow's Music, (Dodd, Mead
and Co., New York, 1971), pp. 76-77

Fisher, Robert, Klee, (Tudor Publishing Co., New York,
1966). PP. 3-34

Galhaar, Christian, Paul Klee: Life and Work, (Barron's,
Woodbury, New York, 1982), pp. 1-103

Grohman, Will, Paul Klee, (Harry N. Abrams, Inc., New
York, 1954).

 

Henderson, Robert, "Third Stream Music", The New Yorker,
December 9, 1961, pp. 42-44

Klee, Paul, On Modern Art, (Faber and Faber, London and
Boston, 1979).

 

Mitchell, Sammy, "Third Stream Visitation: A Talk with
Gunther Schuller," Down Beat, February 22,
1968), PP. 20-21

Picon, Gaeton, Modern Painting from 1800 to the Present,
(Newsweek Books, New York, 1974), pp. 170-175

Sablosky, Irvin, American Music, third impression, (Univer—
sity of Chicago Press, Chicago, Ill., 1971),
pp. 174-175

Schuller, Gunther, "Composing for Orchestra," from The
Composer's Point of View, edited by Robert
Stephen Hines (Norman, University of
Oklahoma Press, 1970), pp. 185-202

Schuller, Gunther, "The Composer Speaks," Music Clubs
Magazine, November, 1959, p. 10

Article "pastoral," The New Webster Engyclopedic Diction-

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Thatcher and A. McQueen, 1971), p. 607

74

75

Clarkson, Austin, "Gunther Schuller," from Grove's
Dictionary of Music and Musicians, (Fourth
edition, 1950), Vol. 16, pp. 817-818

 

Randel, Don Michael, "pastorale," Harvard Concise Dic-
tionary of Music, (The Belknap Press of
Harvard University, Cambridge, Mass., 1978),
p. 374

 

 

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