MSU LIBRARIES “ w RETURNING MATERIALS: Place in book drop to remove this checkout from your record. FINES will be charged if book is returned after the date stamped below. A BRIEF HISTORICAL SURVEY OF THE HARP AND ITS LITERATURE WITH AN ANALYSIS OF SELECTED HARP COMPOSITIONS FROM THE MID-TWENTIETH CENTURY TO THE PRESENT BY Evelyn J. Iversen A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of’Music 1981 Copyright by EVELYN J. IVERSEN 1981 ABSTRACT A BRIEF HISTORICAL SURVEY OF THE HARP AND ITS LITERATURE WITH AN ANALYSIS OF SELECTED HARP COMPOSITIONS FROM THE MID-TWENTIETH CENTURY TO THE PRESENT By Evelyn J. Iversen From the perspective of a harpist having an in-depth knowledge of and interest in how music is written for the harp, this study entails an intensive analysis of four selected compositions and pertinent observations regarding the use of the instrument. 'An historical and technical discussion of the harp shows how and why the instrument survived from Antiquity to be elevated from an early historical accompaniment role to that of a solo instrument which has attracted the inter- ests and talents of composers throughout the world. On the basis of their compositional complexity and their suitability to the harp, the following works were selected for analysis: Egntg§y_fg;_§glg_flarp (1969), by Gunther Schuller (b. New York, 1925); Eggngng_pggr_flagpg_§gyle (1967), by Betsy Jolas (b. Paris, 1926); iggga§g_igz_fi§§p (1961), by Ami Mafayani (b. Israel, 1936); and ggpg_flagp§ (1965), by Tadasi Yamanouchi (b. Japan, 1935). Analytical techniques include twelve-tone, set-theory, and conventional methods. - Contrary to any assumptions regarding the harp's limit- ed chromaticism, Schuller's Eggtagy (requiring a re-tuning of two strings) is a twelve-tone work with total pitch serialization. The Jolas and Yamanouchi compositions il- lustrate dissonant contrapuntal sections, and the Jolas and Ma'ayani works exhibit varied contrasting chromatic textures. Some chromatic limitations of the harp are evident in Fantaay in the numerous required pedal changes, in Traacha in a significantly less use of pitches that have no enhar- monic equivalents on the harp, and in an obvious avoidance of pedal changes in Pour Harpa, where a succession of set pedal arrangements controls pitch material that follows. Tgcaata entails a moderate use of pedal changes as well as a moderate use of chromaticism. With regard to idiomatic writing, the works analyzed display various textures, timbres and embellishments. Exam- ples of the harp's special effects as used by Schuller and Jolas are notable. This study shows that the harp can be used effectively and chromatically in complex works representing twentieth- century musical styles. In addition, appendices of selected lists of solo and chamber works show an impressive repertory. ACKNOWLEDGMENTS I acknowledge Associated.Music Publishers, Inc., Boosey and Hawkes, Inc., Theodore Presser Company and Mr. Tadasi Yamanouchi for granting permission to reproduce scores and musical examples to meet the requirements of this dissertation. For their assistance in providing data for the appendices and for their extraordinary teaching of the harp, I acknowledge Miss Velma Froude and.Miss Lucile Lawrence. I am deeply indebted to Dr. Russell E. Friedewald, who as my thesis advisor and mentor in music theory and analysis, offered valuable expertise and guidance. I am also grateful to members of my guidance committee, Dr. Theodore Johnson, Dr; Merrill Sherburn, Dr. Edgar Kirk and Dr. Heinz Dill for their assistance. iii TABLE OF CONTENTS Chapter I Page I. INTRODUCTION . . . . . . . . . . . . . . . . . . 1 II. A BRIEF HISTORICAL SURVEY OF THE HARP AND ITS LITERATURE . . . . . . . . . . . . . . 5 111- ANALYSIS OF W. COMPOSED BY GUNTHER SCHULLER . . . . . . . . . . 32 IV- ANALYSIS OF W. COMPOSED BY BETSY JOLAS . . . . . . . . . . . . #6 V- ANALYSIS OF W. COMPOSED BY AMI MA'AYANI . . . . . . . . . . . . 6A VI. ANALYSIS OF EQHR_HAREE, - COMPOSED BY TADASI YAMANOUCHI . . . . . . . . . 73 VII. SUMMARY AND CONCLUSIONS . . . . . . . . . . . . 86 APPENDICES A. SELECTED LIST OF HARP WORKS PRIOR TO THE MID-TWENTIETH CENTURY . . . . . . . . 89 B. SELECTED LIST OF SOLO HARP LITERATURE FROM THE MID-20TH CENTURY TO THE PRESENT . . . . 93 C. SELECTED LIST OF CHAMBER WORKS WITH HARP FROM THE MID-20TH CENTURY TO THE PRESENT . . 96 D. REDUCED SCORES OF WORKS ANALYZED IN THIS STUDY . . . . . . . . . . . . . . 99 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . 136 iv CHAPTER I INTRODUCTION Whether a musical creation is spontaneous or laborious, systematic or experimental, its realization demarcates an instrumental province. In Western music history musical manuscripts, pub- lications, extra-musical literature and art data, all chron- icle a musical repertory that suggests or corroborates con- temporaneous instruments and performance practices. With varying degrees of reliability and revelation these sources trace significant stages in the development of musical in- struments. In addition, they reveal a social role of music as well as trends in musical style. Through its long history the harp has enjoyed a signi- ficant though sporadic popularity and has managed to adapt, in several stages of development, to changing societal uses and musical innovations. Unlike its ancient associates, the lyre and the dulcimer, which have become obsolete or have developed into the unrecognizable form of the pianoforte, the harp has retained its basic shape and timbre. However, until the Twentieth Century, and especially the post mid- century mark, its potential in instrumentation has not been realized. 2 Due to its existence in the shadow of other histori- cally dominant instruments, such as the organ, lute, guitar, virginal, violin, and piano, the harp has been relegated to a more or less subordinate status. It served primarily for poetical accompaniment in Antiquity and the Middle Ages, in court ensembles during the Renaissance, as a continuo- thoroughbass in the Baroque period, as a substitute for keyboard instruments in the Classical period, and as an orchestral color resource in the Romantic period. With its present physical-mechanical structure, achieved in the early part of the Nineteenth.Century, the instrument known as a d222l§:§2329fl.2§§él;h§22 offers an enormous wealth of harmonic and timbral resources. It pos- sesses a range comparable to that of the piano, a capacity for chromatic andxmfrtbvoice musical textures, a unique en— harmonic provision (by virtue of a flat, natural, and sharp position for each string), and a wide assortment of coloris- tic timbres. These include special effects executed by a variety of finger or finger-nail plucking, strumming and damping techniques, and distinctive tone colors unique to the various registers. Yet, because its structure requires a player to pluck the strings (using the thumb and first three fingers of both hands) and to operate seven foot pedals (essential for al- tering the diatonic tuning), the harp is less well equipped .for some rapid passage—work and chromatic changes that could be played more easily on a keyboard. This operational 3 hazard, however, alludes primarily to seventeenth, eight- eenth, and nineteenth-century musical styles. Due to such twentieth¥century musical styles as impres- sionism, atonality, dissonant counterpoint and dodecaphony, all of which are free from tonal restrictions of the previ- ous three centuries, the harp has become an increasingly significant and useful orchestral and chamber music instru- ment. If notated with regard to performance feasibility in relation to pedaling and fingering, it may be used ef- fectively in various ensembles, in that it blends well and has a unique tone quality and a wide range of dynamics. Furthermore, an expanding post-mid-century solo repertory has enhanced its utilization. With its singular resources and peculiar performance requirements, the instrument poses difficult problems for composers: unique harp notation symbols (that indicate special timbral effects or pedal positions); a performance practicability (allowing for feasible pedaling and finger- ing): and an avoidance of pianistic style writing (a common failing, as the harp and piano both utilize two-staff nota- tion). A selective examination of post-mid-century harp solo literature shows a body of works not only conceived espe- cially for the harp, but one which represents various twentieth—century avant-garde styles (see Appendix B). Fol- lowing a brief historical survey, this study focuses on an analysis of four works, Fantasy far 5919 Harp, by Gunther 14. Schuller, Tranche, by Betsy Jolas, W, by Ami Ma'ayani, and Pgur Harpe, by Tadasi Yamanouchi. These analyses, using twelve-tone, set-theory, and conventional techniques, disclose varied uses of the instrument's chro- matic, coloristic, textural, and enharmonic capabilities. Moreover, they delineate complex, aesthetic, and carefully wrought compositions. Analytical methods vary among the four studies, as certain procedures adapt more logically than others to each work. The analysis of the Jolas work, for example, involves conventional methods, while the Schuller study requires primarily twelve-tone techniques and a minimal use of set- theory applications. The Mafayani study, on the other hand, utilizes set-theory extensively, and includes explanations of techniques that are not generally familiar. Likewise employing set-theory, the Yamanouchi study also utilizes conventional methods. Reduced scores may be found in Appen- dix D. CHAPTER II A BRIEF HISTORICAL SURVEY OF THE HARP AND ITS LITERATURE The harp has had a long and enchanting history. From Antiquity to modern times, this tuneful, graceful and magi- cal instrument has played a significant role in civiliza- tion and culture and has had a unique history of develop- ment and survival. From vestiges of ancient Western civilization in Egypt and.Mesopotamia, through epochs of European cultural and political transformations, to a modern, world-wide dis- semination of western musical style, it emerges as the only melodic instrument of Antiquity to have survived in profes- sional usage to the Renaissance, and thereafter to have adapted to musical styles from the Baroque period to the present. With an BEEhfiQ.0r triangula; shape and a perpen- dicular graded free-stringing, the harp could be made to various sizes and tunings, and thereby contend with societal needs as well as musical innovations. The presence of actual remnants in tombs as well as depictions in representations of funerals and other ceremo- nials, all suggest a high regard for the instrument in early civilization. The harp is not only prominent in royal or religious processions, but also conspicuous in literary 5 6 accounts of heroic verse accompaniment and in mythology. For example, mural paintings show harpists leading proces- sions, while vases, carvings and statues depict players sit- ting, kneeling, standing, marching or dancing. Harps are shown held against a player's right or left shoulder and plucked by either or both hands. In instances of both hands being used, a left-shouldered instrument, for example, would require a player to pluck the lower strings with the right hand and the upper strings with the left hand. In Antiquity, bow shaped and angular types deve10ped into larger, louder and stronger models with increasing num- bers of strings and with various sizes, shapes and positions of resonator boxes. Instruments from ca. 4000 B.C. had fewer than ten strings attached to a concave sound chest. A later type (ca. 2600 B.C.), an upright, floor standing type with seven strings and a deeper sound box, was played by a kneeling musician. During the same era was a h-string shoulder model, held with its canoe shaped sound box rest- ‘ing horizontally on a player's shoulder. In the tomb of Rameses III (ca. 1250 B.C.) a mural painting shows two 11 and 12 or l3-string floor standing models (6 to 7 feet tall) with standing players.1 Two kinds of harps served the Assyrian Empire (950- 659 B.C.). One was a horizontal angle harp held by a shoul- ' der strap and played with a plectrum; the other a vertical 1See drawings in Sir J. Gardner Wilkinson, EEEEEHELJHMI Custaas a; tha anaiani Egyptians, ed. by Samuel Buch, Vol. I Boston: S. E. Cassino & Co., 1883), 434-471. 7 angle harp held on the lap of a sitting player and plucked with both hands. Ancient Phoenicians had a vertical angular harp. The Hebrews, while in Canaan, probably adopted the Phoenician instrument. A Hebrew term for harp, papal, (meaning to inflate or to bulge, and as suitable to an instrument with a bulging resonating body as to inflated skin bottles or clay jugs), is similar to the Phoenician term aapla, which represented a vertical angular harp. Hebrew and Phoenician models had 12 strings, plucked with a plectrum by the Phoeni- cians and with fingers by the Hebrews. Compared with the ancient Hebrew and Phoenician lyre (kinngg), the aapal or napla was louder and lower pitched. This is noteworthy in- asmuch as a pillarless type could support minimal string tension, and therefore would have a low pitched range. Its loudness depended upon the size of its resonator box.2 Political and geographic shifts of power in the first four millenia B.C. account for the harp's changing societal use and status. Greeks and Romans, for example, regarded it as foreign to their culture. Indeed, to Greek philoso- phers it was sensual, effeminate and injurious to morals, and Romans considered it indecent in respectable houses.3 However, the harp, along with the lyre, was associated with 2Peter Gradenwitz, The Muaic of Israel, Its Riga agd Growth Through 5,000 Years New York: W.W. Norton, l9 9 , 52. 3Hortense Panum, The Stringad Instrumenta of the Middle Agaa, English translation revised and edited by Jeffrey Pulver (London: William Reeves Bookseller Ltd., 1939. Re- pr1nt, New York: Da Capo Press, 1971), 85. 8 the muses. A Greek vase from the time of Alexander the Great (350 B.C.) depicts a vertical angle harp held in the lap of Polyhymnia, the Muse of sacred poetry.“ Also, an ac- count of a harp accompanied poetical narrative is found in Homer's ngaaay (see quote and footnote on page 83). As for the development of the western fpaaa harp, the most significant geographic area of later Antiquity includes the British Isles and Scandinavia. Known to Phoenicians, Greeks and Romans as trading outposts, Northern societies undoubtedly absorbed some Eastern religious and social cus- toms. It is significant to note similarities in the harp's established functions in ancient Eastern cultures and early medieval Northern societies. These include an accompaniment role in pagan religious worship and in bardic narratives of heroic deeds and sagas,5 as well as a symbolic and inspira- tional role in mythological characterizations and in quel- ling the warring spirit of soldiers. For example, an ac— count written in the first century B.C. by Diodorus, a Roman historian, indicates that on an "island off Gaul" worshipers of Appollo accompanied themselves on the harp (or lyre?) while chanting hymns.6 Early medieval sagas, such as the Carl Eneel W W 190 N Revised ed ew York: Benjamin Blom, Inc , 1971).3 5Accompaniment was probably a strumming or plucking of octaves or 5ths in a pentatonic tuning, and verse recitation may have been sung or spoken. 6John Thomas, ' (London: William Reeves Bookseller Ltd., ca. 1910 , 9 Anglo-Saxon Begwulf, have accounts of happer-pgeta who entertained in the same tradition as that related in the Qayaaay, Irish, Welsh and German bardic traditions became established by the 6th Century, and Scandinavian mythology (having an origin in previous centuries, although written in the 13th Century) gives accounts of water spirits or naaka who taught and inspired harp playing, recalling the function of the muses, and of the legendary King Gunnar, renowned for his magical harping.7 These literary references citing the instrument cannot be considered reliable inasmuch as terminology has not been translated clearly: nor can they be presumed to designate specific types of instruments, but 'rather, general clas- sifications. Terms representing the harp or lyre are fre- quently interchanged or mis-translated, and sometimes des- ignate other types of stringed instruments such as the Scandinavian pagaa;nagp, a fiddle type instrument. Confu- sion regarding terminology and the fact that many accounts were written centuries after their origin result in incon- clusive historical data concerning the harp. No extant evidence points to a transfer of the instru- ment from eastern to western centers of Antiquity, nor to its presence in the North prior to the 8th or 9th Cen- turies, although an established bardic tradition could jus- tify an assumption that it was in use in earlier centuries. 70tto Anderson, w, a study in the History of Early Musical Instruments, Edited by Kathleen Schlesinger (London: William Reeves Bookseller Ltd., 1930), lb5. 10 The instrument could have been adopted from Roman legions occupying Britain, or transported to the British Isles by Phoenician or Greek merchants. It is also conceivable that Roman Christian missionaries, using hymns as a means of ac- quiring converts, adopted the practice of accompanying them- selves with some type of stringed instrument, which they could have transported or that was already familiar to the converts. On the other hand, considering the singular resourcefulness and ingenuity of'Northern peoples in skill- fully dealing with a harsh climate and seafaring existence, Germans, Britons, Celts and Scandinavians may have devel- oped the harp independently of Eastern.influence. What scant evidence exists points to the instrument having been adopted by Angles, Saxons and Jutes of'Northern Germany and Denmark and transfered to England during 5th and 6th-century Germanic invasions. The earliest evidence of the harp in the British Isles survives in depictions on 9th-century Irish stone crosses. These represent both an ancient (pillarless) type and one that appears to have a forepillar (the Ullard harp, A.D. 800). Anglo-Saxons are credited with producing the pagan- gala; or izama harp, the forerunner of the modern harp. This amounted to the incorporation of a forepillar between the outermost extensions of the string arm and resonator box in order to support greater string tension, thereby preventing upper strings from buckling when tension was in- creased on lower strings. This type is not known to have 11 appeared before the 10th Century in Britain. However, a bow shaped instrument with a apgaag;;a_forepillar to support its curved neck was carried by the Finns in their 7th-century migration from Western Siberia. Another feature of the Anglo-Saxon model, the downward position of its sound box, is noted in the harp of the Ostyak tribes of Western Siberia (racially connected with the Finns).8 Evidence in the form of pictures and remnants dating from the 10th Century traces the triangular harp on the British Isles from England to Western Scotland, to Ireland (in the 11th Century), and to Scandinavia and Europe by the 12th Century. While the earliest known picture of the figaaa harp in Britain dates from the 10th Century, the earliest known representation of the Anglo-Saxon type in Ireland dates from the llth Century, and probably came to Ireland from.England. This representation in Ireland shows a harp held on the left shoulder, with the right hand playing the bass strings and the left hand playing treble strings, whereas the English representation depicts an instrument resting on the right shoulder and the left hand playing bass and the right hand playing treble.9 In Ireland, the preferred material for strings was metallic (brass, silver or gold) rather than the Anglo- Saxon twisted horsehair. In order to support string tension, 8F. W. Galpin, "The Sumerian Harp of Ur, c. 3500 B. C. W. Vol X. No. 2 (1929). 122-123 9Richard Hayward, T t t Iri h H (Belfast: Arthur Guinness Son & Co., Ltd., 195 12 the Irish constructed a stronger forepillar. In addition, they added strings and enlarged the sound box thereby pro- ducing a stronger and more sonorous instrument than the Anglo-Saxon predecessor. With wire stringing, the Irish harp was played with the fingernails. Evidence points to an Irish influence on Scandinavian harps. The triangular type was probably carried to Scan- dinavia from Ireland through Viking expeditions. A 12th- century depiction in Scandinavia, resembling an Irish form of the Anglo-Saxon harp, is the earliest known evidence of a harp in Norway. However, there is speculation based on mythological references and the intermix of Irish and Nor- wegian culture during the Viking era (from the 9th Century), that harps could have existed in Norway prior to that time. A Nordic stone cross depicting an Irish type frame harp was found on the Isle of Man, which was overrun and half colo- nized by Vikings. Also, an Irish type is found in some pictures associated with the King Gunnar legends.10 The question of how the harp was carried to the Euro- pean continent has not been resolved precisely. No known evidence points to its transfer from Asia (contrary to the known ancestry of all other European instruments), although some evidence in 12th-century manuscripts from the Black Forest shows that the frame harp had been transferred from England by the 12th Century. loPanum, o . cit., p. 122. 13 In medieval Europe, in light of an allegorical usage, instruments were considered to be symbolic with regard to mythological morality and Christianity. The harp was rep- resented as having mystical or magical powers that could sooth and inspire, and that could promote or represent di- vine powers and knowledge. These pervasive powers, also attributed to the harp in Antiquity and having infiltrated the bardic and mythological traditions of the Early Middle Ages, now became synonymous with certain characterizations in medieval Christian allegory. Long associated with pagan worship as well as with royal processions and court entertainments, the instrument was proscribed during the Patriarchal era of Christianity (#th Century). After the Edict of’Milan recognized Chris- tianity (A.D. 313), vestiges of non-Christian life style were forbidden on order to purify Christian worship. With the exception of the organ, these included all musical in- struments, because they were looked upon as distractions to Gentile converts. Hebrew Synagogue worship too,forbade a use of instru- ments, advocating instead the human voice, with its unique purity, as the only suitable expressive means with which to praise God. Scriptural citations portraying the use of musical instruments, such as those referring to the harp and lyre in Psalms, were acknowledged in fact, although viewed by Christian Patriarchs and Jewish ecclesiastics as instan- ces of God's disapproving acceptance of man's imperfect 14 worship--also demonstrated with regard to animal sacri-' fices.ll However, the frequency of Nth-century prohibitions against the use of certain instruments probably reflects that they were in actual use, if not in liturgical practice, then possibly in some other way related to Christian worship or everyday life. By the 9th Century, Old Testament instruments were ' interpreted as having meaning for a Christian if understood as spiritual representations, and were depicted allegorical- ly. This kind of allegorical usage is referred to as Engla- ,3919giaa;_aaagaaia_whereby historical events represent sym- bols or shadows of a higher reality. In this sense, instru- ments referred to in the Old Testament are justified allego- rically, rather than as previously, explained away in terms of their use being in error, but acceptable to God.lz The U2222h3_2§§l3§£: an early 9th-century illuminated manuscript, provides the earliest extant example of verse illustration of the Psalms, as well as the earliest known~ evidence of a harp in Europe. In these illuminated minia- tures, the harp is depicted symbolically, inasmuch as it represents King David and certain Psalm verses. Although the U3;aaht_£aal§ag and other relics show a harp with some semblance of a forepillar, there is no 11James‘McKinnon, “Musical Instruments in Medieval Psalm Commentaries and Psalters," J f t Amer' W191): Vol 21 (193%). a 1211219.. 5-10. 15 substantive proof that this type was present in Europe prior to the 12th Century. In fact, it is possible that illumina- tions were added to the HIEQQQL_2§éI£§£ in a later century (perhaps when it was copied and re-copied in England) since they represent the Anglo-Saxon school.13 Following the Crusades, illuminated manuscripts depic- ted fingerboard instruments (lute and guitar), psalteries, and percussion and wind instruments, citing an Eastern (Per- sian, Arab, Byzantine) influence. One type of psaltery shown in manuscript illuminations after the Crusades con- sisted of a harp shaped box strung on both sides. This re- sembled a harp in that it was held in an upright position and was plucked on both sides. However, in the illustra- tions only one hand is visible and a plectrum is used. Also following the Crusades was the emergence of Geré . man and Anglo-Saxon minstrels and French jongleurs who ac- companied their narrative poems with a harp. The jongleurs displayed many talents, including an ability to perform ac- robatics and to play several instruments, the most popular of which were the harp, lute and viol. Although originally punished by excommunication, jongleurs eventually were ac- cepted in Church worship as communicants and as performers in holy day celebrations. As professional musicians they played an important role in liturgical dramas and mystery plays by leading processions past religious tableaux and 13Kathleen Schlesinger, "The Harp," in Enayalapaaia Bripaaaica, Eleventh edition (London, 1911, Vol. XIII , 20. 16 attracting worshippers to special Church feasts. The tab- leaux, performed on temporary stages at stopping places along the route of a procession, incorporated drama and symbolism into a religious scene or characterization. Pro- cessions of this type took place in England, France, Bur- gundy, Belgium, Spain, and Germany. The instruments used in allegorical tableaux and in entertainments were grouped into two categories, aaap (loud and shrill) and baa (soft and low). The paa group included vielles, psalteries, harps, rotes, bagpipes, and hurdy gur- dies, while hag; instruments included field trumpets, drums, cymbals, shawms and bagpipes, or those played by "musicians who are going to stir up . . . gaiety."lu In 14th and 15th-century mystery plays, the orchestra and chorus were behind the scenes with nap: instruments at ground level and paa instrumentsin an elevated section. All instruments were used in processions to attract an audi- ence, and were played during entr'acts to maintain audience attention. Hag; instruments were used for scenes of Judg- ment Day, triumphal entries and military scenes, and drums and cymbals represented deeds of the devil. Baa_instruments, including harps, lutes, vielles, rebecs, flutes and the por- tative organ accompanied choirs of angels and scenes of Paradise. Shepherds in Christmas plays were accompanied with flutes, recorders, or bagpipes, and baa instruments l“Edmund A. Bowles, "Haut and Bas: The Grouping of Musical Instruments in the Middle Ages," W, VIII (1954), 119- 120. 1? accompanied the appearance of Jesus. While some mystery plays designated aaat or paa, there were no further indica- tions as to specific instruments.15 As an indoor instrument, the harp was held in highest esteem and was played by members of royal families and the feudal aristocracy. In 1384 a harpist, along with twenty- seven other musicians, was engaged at the court of Philip the Bold, Duke of Burgundy (1342-1404), who is known to have enjoyed baa music after dinner. John of Flanders, Philip's unscrupulous successor (1404-1419), employed 6 harpists, 6 trumpeters, 12 vielle players, a lutenist and wind players, according to a list of payments in 1419. Duke Philip the Good of Burgundy (1419-1467) engaged vielle players, luten- ists, harpists and wind players in his chapel.16 In court orchestras the harp was used with the vielle, guitar and other guitar-like instruments of various sizes. This kind of instrumentation accompanied carol dancing, usually performed by court ladies. In fact, the 15th-cen- tury pa§§a_ganaa was named after these instruments. According to an hierarchy of instruments in the Middle Ages, the chief instrument was the human voice, followed by a;11£iaial_instruments. The highest ranking of these were the organ, clavichord and other keyboard instruments, fol- lowed by the 1ute and possibly the harp because of its 151114.. 135-137. 16Edmund A. Bowles, "Instruments at the Court of Bur- (136 4467)." WM VI (July. 1953).4 ”-3 l8 favored court status. Other string instruments followed, ranking above wind, wood and brass instruments.17 In the 15th Century, the harp was a favorite of the English as well as the Flemish nobility. Both Henry V and his French Queen, Katherine, played the instrument, and Henry V was a composer. Other 15th-century monarchs, in- cluding Edward IV, Richard III and Henry VII all were pa- trons of music, as was Charles V of France. Henry IV, how- ever, imprisoned Irish harpers.18 Inventory lists, representing 16th-century collections of English dukes and kings, show a prevalence of wind instru- ments, including flutes, recorders, shawms, organs, cromornes, horns, cornets, bagpipes, reed pipes and trom- bones. String instruments included virginals, lutes, viols, guitars, clavichords and harps. For the most part, instru- ments were played in homogeneous groups or consorts, often including several sizes ranging from treble to bass of the same type of instrument. The harp did not fall into this qategory.and was often either omitted from collections and inventory lists or listed with only one or two representa: tives. This would indicate its use when a harper was avail- able or in accordance with the sovereign's preference. In 1530, Henry VIII's Band.of'Musick included one harp along with viols, a fife, lutes, drums, rebecs, sackbuts, 17John Stevens. WW Q9121 (London: Methuen & Co., Ltd., 19 1 , 312. ‘ 18William Henry Grattan Flood, T e t t Har (Boston: Longwood Press. Reprint of 1905 edition), 59-65. 19 trumpets and a virginal. During Edward VI's reign, in 1547, a bagpipe and more viols were added. While English and Irish harpers were present in the court of King James IV of Scot- land, Elizabeth I in 1570-76 issued commissions to ban Irish harpers, although she had employed Welsh players in 1567.19 By 1540, the instrument was replaced in popularity by the lute, which was chromatic, and by viols, recorders, the virginal. clavichord, and especially,rthe viblin. During the 16th Century, a significant interchange of music and musicians took place among the royal and noble houses of Europe. French and Flemish instrumentalists traveled to the courts and chapels of Aragon and Castille, and Spanish musicians traveled to Naples and.Eng1and. A Due to a Flemish influence at the Spanish court of Charles V and that of his son, Philip II, the harp during the 16th and 17th Centuries became a favored instrument in courts and cathedrals and was widely played by amateurs and monks. By the mid-17th Century, Spanish cathedrals and large churches employed harpists who played primarily continua (and sometimes also served as organists). Many of them had perma- nent posts at the Royal Chapel of“Madrid (until 1733) and at the Cathedrals of Toledo, Salamanca, Avila and Valencia.20 A reference to the use of the instrument in mid-16th- century Spain was made by Juan Bermuda in 1555. He wrote, lgm- ! 69-73 - 201v. Zabaleta, "The Harp in Spain from the 16th Century to the 18th Century," app Nawa, I, No. 8 (1953), 4. 20 "Very few players have a harp and there is hardly one cele- brated executant. No one tries to play it perfectly or to study in order to know its possibilities." (Baalagaaign_aa insprppenpps_mp§ipaips, 1555).21 or the diatonic harp with 25 or 27 strings he wrote, "The harp has a not negligible im- perfection. It is about the number of strings, as it lacks the semitones of a chromatic nature."22 By the end of the 16th Century and in the 17th Century, a harp of two orders had become popular. This had two rows of inter-crossed strings (one order corresponding with the diatonic and the other with the chromatic notes on a key- board)- and was capable of music designated for contemporary fretted and keyboard instruments. For this reason, composers indicated, "tecla" (keyboard), "harps," and "vihuela" (lute) on the title page of their scores. Like the Irish, Spanish harpists had a unique method of playing. In his method book (Madrid, 1677), Ribayaz advo- cates a use of two fingers of each hand-~the thumb and index finger of the right hand and the index and middle fingers of the left hand. In his treatise (Madrid, 1702—04), Diego Fernandez de Huete promotes a technique using the thumb, in- dex and middle fingers of both hands.23 The first harp music published in Spain was incorpora- ted in the W of A. Mudarra. This work, 21Joan Rimmer, "Harps. in the Baroque Era," Pr c T R c A a o , 90th Session (19 9. 22Zabaleta, pp. pit., p. 2. 231221.. 8 21 published in Seville in 1546, contains a tiento for harp. Another publication of note is the Obraa da‘Mfiaica para tag- 1a‘_a;paay_yihaala of Antonio de Cabezfin (Madrid, 1578). Designated for keyboard instruments, harp and lute, it con- tains 130 works by several composers. In a prologue to the works of Antonio Cabezfln, his son, Hernando, said, "The harp is so like the keyboard instruments, that anything that can be played on the latter, can be performed on the harp with- out much difficulty."2u All notated in tablature, publica- tions associating the harp with keyboard instruments and the lute initiated its ensuing role in the Baroque musical era as an associate or substitute keyboard instrument. While this subjugation diminished its status somewhat, it also points to its capacity to accommodate Baroque compositional innovations. With an emerging trend towards expressive instrumental music in the Baroque period, innovations in musical style called for instruments that could provide an expanded range and tonality and a wide range of dynamics. Many instruments were set aside and forgotten, and.new instruments emerged.. The harp survived, as did the viols, A newly emerging instrument was the violin. Bassoons, oboes and flutes survived, but many non-expressive reed instruments did not. Since the harp could be played expressively and because of its structural capacity to increase in size, loudness and 22 range, it retained a professional status and was used primarily as a continuo. Customarily, several instruments simultaneously played continuo parts. String or wind instruments would play the bass line, above which chordal instruments, i.e., keyboard instruments (such as the harpsichord or organ), bass lutes (such as the theorbo or chitarrone), large citterns, the bandora, and the harp would play the figurations.25 Continuo instruments in 17th-century Italian monodies included the harpsichord, chitarrone (the most popular), clavichord, spinet, theorbo and lute. Also used were the Spanish guitar (having replaced the lute in popularity, although not used as commonly as the harp), the ohitariglia (a small, possibly 4-stringed, guitar) and the double harp (a:pa_dpppia). A favorite of the cultured few, the azpa ggppia, an expensive aristocratic instrument, was frequently listed on the title page of monodies by aristocratic dilet- tanti.26 With two ranks (one diatonic and one chromatic) of diagonal crossed strings, this was the type of instrument indicated by Monteverdi in a performance of L'Orfeo (scored for 30 to 40 instruments) at Mantua in 1608. In 1581, in his 25JeremyMontagu, The World of Barogue and Classical Mu ical Instruments (Woodstock, New York: The Overlook Press, 19795. 18, 26Nigel Fortune, "Continuo Instruments in Italian.Mono- dies," The Galpin Society JQurnal, VI (July, 1953), 10-13. 23 Diasertatign on Aacient and.Mgdern Music, Vincenzo Galilei states that the double harp, or harp with two rows of strings, was common in Italy in his day.27 .AIDB_QQDDiB probably also implied an instrument of "double" size, i.e., a very large instrument capable of a sounding bass part and having a substantial sustaining and carrying power. During the 17th and 18th Centuries,the triple harp became standard. This type had three vertical ranks of strings (not crossed), with two diatonic outer rows and a chromatic inner row. Originally devised in Italy at the end of the 16th Century or at the beginning of the 17th Centuryyzit represents one of several attempts during the Baroque period to construct a fully chromatic instrument. Others, including the lirone and chitarrone, did not survive the era. 28 According to Marin Mersenne (W, 1635), the triple harp was invented by Eustache and Perfected by the composer-harpist, Orazio Michi (Horace Michi), who was in the service of the cardinals and trained in Naples on the aypa doppia. The Italian triple was "right-sided," i.e., held against the right shoulder with the right hand.p1aying in the upper register. A typical Italian model might have had 94 27Thomas, Qp, git., p. 15. 28Joan Rimmer, "The Morphology of the Triple Harp," Tna W. XVIII (March. 1965). 90 24 strings, with ranks numbering 32, 31 and 31. Strung thus (i.e., nearly completely in all three ranks, and with a minimum of four and one-half octaves), it could provide a florid melodic line in the bass. This kind of instrument was used as a continuo in aristocratic performances of opera, monody and intermezzi, but was supplanted by the more dynam- ically brilliant harpsichord.29 In France, the triple harp may have been introduced by Italian musicians at the court of Catherine of Medici, where, in 1582 (according to a contemporary account), an orchestra for a performance of the "Ballet Comique de la Royne" includ- ed harps, 1utes, hautboys, cornets, sackbuts, lyres, flutes, and bowed strings. This instrumentation was not combined in ensemble, but divided into bands for particular scenes.30 Presumably, a triple harp was used in the consort for which the English composer, William Lawes (ca. 1580-5 to 1645), wrote his consort pieces for violin, bass viol, harp and theorbo (1630 to 1640). These are the only known consort pieces having a completely-written part. A musician at the court of Charles I, John Flesle, who was sworn in as "musitien in ordinary for the harp " to Charles or to his French Queen in 1629, presumably played a triple harp in Italian continuo style, as he received training in Italy.31 By the end of the 17th Century, a welsh triple harp 29Ibid., 90-93. 30Donald Jay Grout, "Some Forerunners of the Lully Op- era," Music and Letters, Vol.XXII. No.1 (January, 1941-),18-21. 31 Rimmer, "Harps in the Baroque Era," o . cit., 66-67. 25 was established in Britain, although Welsh stringing, as compared with Italian stringing, was on the right side of the neck, requiring the right hand to play in the bass and the left hand in the treble register. The instrument was held on the left shoulder. The Irish harp is played in the same fashion, although strung on the left side of the neck.32 A characteristic of a Welsh triple harp is a high pointed pillar, while an Italian triple has a scroll-like pillar. After the end of the 17th Century, the triple harp was found exclusively in Wales, where it yet survives, although there is no record of its appearance in Wales before the end of the 17th Century.33 In comparison with the nearly-equal string ranks on the Italian triple, the center rank of the Welsh harp starts 4 to 6 strings after the right-hand (bass) rank, and the treble (left hand) rank starts 3 to 5 strings higher than the center rank}!+ With the instrument having three rows of strings, it was possible for the performer to trill on unison strings (the harp's parallel to a violin bariolage). The middle row, with 32Since the neck on an Irish harp is centered directly above the box, rather than off-set to the right, the highest strings slant to the left and are out of parallel with the plane of the rest of the strings. Therefore, it is logical to play with the harp resting on the left shoulder and the left hand in the treble. 33Joan Rimmer, "James Talbot's Manuscript (Christ Church Librarijusic MS 1187) VI. Harps," Tha Qalpip Spciapy inurnal. XVI (May. 1963). 66-69 63uRimmer, "The Morphology of the Triple Harp," pp, cit., p. 9 . ‘ ' 26 seven chromatic strings to an octave (instead of five), al- lowed for a variety in tuning, as it was possible to have seven sharps or seven flats, unisons and enharmonics, al- though, according to John Thomas. harpist to Queen Vic- toria and Edward VII, it was impossible for the triple harp to modulate out of the key to which it was tuned.35 By the mid-18th Century, the Welsh triple had a range of five cc- 4 4 taves, extending from G to f or g . Encompassing six and one-half octaves, the range of a modern harp is from CC to 8“- At the end of the 17th Century, in order to provide for chromatic tones on a single order of strings, harp-makers (allegedly Tyrolian) mounted U-shaped hooks (QEQQBQIE) 36 and plates on the harmonic curve, corresponding with certain strings. When moved manually, an individual hook that pressed a string outwards from the string plane shor- tened its vibrating length by a semitone. This mechanism enabled a player to set a chromatic tone prior to playing it, rather than as was previously necessary, having to execute a chromatic change by pressing the lower part of the string to shorten its vibrating length by a semitone while plucking the string. However, modulation still was limited inasmuch as a 3SThomas, op. cit., p. 15. 36By the beginning of the 18th Century, and possibly during the last half of the 17th Century, the harp acquired a curved neck (string arm), or, an "harmonic curve," which allowed for proper string length and tension throughout its four to five octaves. 27 manual chromatic change not only occupied the hand, but could manipulate only one or two hooks at a time, limiting a modulation to only one octave. For this reason, the triple harp was still used for concert and professional purposes. Although difficult to play, it accommodated far more elaborate music than the hook harp could. It was for this kind of instrument that Handel conceived his gppcapto in Bp and scored parts for his works, immense; (1713) and Esme: (1720)» An early 18th-century pedal invention to turn the hooks, or crocheta, is attributed primarily to Hochbrucker of Donauwfirth, Bavaria, in 1720 (an invention concurrent with the use of pedals instead of pull-stops on the harpsi- chord). Hochbrucker at first used five pedals, and later seven, connected by a lever and wire mechanism from the base and up through the body to hooks controlling the strings. Although Hochbrucker's invention was improved and modified, it could not be made totally satisfactory as jar- ring noises occurred simultaneously with the enactment of the pedal mechanism, and fingering was affected by strings pulled out from the string plane. An improvement on this pedal-hook mechanism that pulled strings out of line (and out of tune) was devised in Paris by Georges Cousineau and his son. The Cousineaus replaced the hooks with small metal crutches (héfluillfifi). which were made to grip a string as one turned clockwise and the other counter-clockwise towards it. Along with this 28 mechanism, the Cousineaus invented a slide by means of which the bridge-pin could be raised or lowered to regulate string length. Although some problems were now eliminated, the harp's modulating capability was still on a par with a horn without crooks. V In the early 1780's, the Cousineaus doubled the number .of pedals to fourteen and tuned the instrument to the dia- tonic key of Cb, rather than Eb. The harp could now be played in fifteen major keys and twelve minor keys, as com- pared with eight major and five minor keys previously pos- sible with an Eb tuning. However, the great number of pedals prohibited a practical usage. In London, in 1792, Sebastien Erard (1752-1831), who in 1796 built the first grand piano, patented a harp with metal forks, foppghaptas, instead of pégpillaa, These fourchettes consisted of two projecting studs that were mounted on rotating brass discs, and that gripped a string. In 1810, Erard patented a seven-pedal, apppla_ppya- paap_ instrument having a second fork for each string and encompassing six octaves and a fourth from CCb to f“. Tuned to Cb major, this had a pedal mechanism that could shorten the length of a string by two "notches,9 or up one semitone and then up a second semitone. In 1836, Sebastien Erard's nephew, Pierre Erard, paten- ted a model which was larger than the previous Erard style and that had a wider string spacing and a broader soundboard. 29 This was a YGothicV model, as compared with previous pedal rarps of a "Grecian" design (i.e., having a scroll like fore- pillar). Erard's double-action mechanism gave the harp an ex- tensive modulating capability as well as enharmonic features. It is this invention that is credited for the instrument's survival through musical trends and innovations in the 19th and 20th Centuries. Although works were written or scored for the single- action harp, it was not until after the invention of the double-action mechanism.'murtexpanded its modulating capac- ity, that the harp became commonplace in operatic and orches- tral scores, especially those of Berlioz, Liszt and Wagner. Player-composers emerged (Spohr, Bochsa, Dizi, Labarre, Godefroid, Hasselmans, Oberthfir and Parish-Alvars) who wrote methods, studies, and some notable solo and chamber works. Most of these, however, were drawing-room pieces, and es- sentially, use of the harp in 19th-century chamber music was rare. Perhaps because of the great popularity of the violin and keyboard instruments in the 18th and 19th Centuries in France, Italy, England and Germany, the harp suffered a significant setback. Not only was it neglected by composers, but, of more consequence, by professional musicians who, rather than dealing with some of its impractical attributes and the difficulties of mastering its technique, decidedly geared their technical skills and musical repertory to the 30 more popular instruments. While the harp continued to have some usefulness as a solo and chamber music instrument in private residences and intimate entertainments, it suffered to the degree that the bulk of musical artisans and patrons concentrated their efforts elsewhere. A result of this has been a belated, and, perhaps crippled repertory as well as a meager number of virtuosi. 0n the other hand, some significant chamber works, notably from the French school in the first three decades of the 20th Century, unveiled its usefulness and potential. Due to the emergence of Impressionism, the harp--with a capacity to accommodate whole-tone, pentatonic, modal and 9th-chord glissandos, as well as sumptuous chords, harmonics and other unique timbres--became a significant coloristic and harmonic resource. As a result, the instrument became established in early 20th-century chamber music, including non-impressionistic works (see Appendix A). From the 1920's to the 1970's, avant-garde musical styles veered strongly towards serialism, atonalism, dis- sonant counterpoint and various kinds of experimental and chance music. Although these trends espoused few if any remnants of a previous French style, many composers recog- nized the harp's utility and value. Partly due to the in- fluence of their predecessors and pedagogues (traced through Messiaen, Dupré, Milhaud, Boulanger, Widor and Roussel to d'Indy), some of whom had used the harp to good advantage, 31 and more generally to a recognition of the instrument's unique tone quality and varied timbric resources, composers from the mid-20th Century to the present have significantly expanded its repertory of solo and chamber works (see Appen- dices B and C) . 37 The following chapters present detailed analyses that de- lineate the compositional style and idiomatic use of the harp in four contemporary solo works. Because the instrument has had a unique historical usage, development, and survival, and because, up until the mid-20th Century_ its repertory has been minimal due to its "non-chromaticism." the outcome of an in-depth study of post-mid-century works would reveal significant innovations in its compositional usage as well as the instrument's constraints on musical texture. 37Recognition must be given to Carlos Salzedo (1885- 1961), who not only instituted a valuable harp pedagogy, but whose determination to establish the harp in 20th-century music influenced many avant-garde composers. CHAPTER III ANALYSIS OF FANTASY FOR SQLO HARP, COMPOSED BY GUNTHER SCHULLER Fantasy for Splo Harp has six sections, each of which is set off by a change of tempo and by a break in rhythmic flow, the latter being achieved by either a rest, a fermata, a ritard, or a combination thereof. In addition, the conclu- sion of each section is marked by some sort of palindrome, glissando or repetition. Sections unfold in a slow-fast- slow-fast-slow-fast pattern, as follows: Section 1 (measures 1-13), J = 54 Section 2 (measures 13- -27), J‘= 96, 84, 92 J: 54 (almost constant gm:tion) Section 3 (measures 28-34), Section 4 (measures 35-60), J= 84-88, 72-76 Section 5 (measures 61-66), J= 54 Section 6 (measures 67-76), J= 84-88 Slow sections, 1, 3 and 5, are similar in that they share a melodic style and consist of two or three phrases. Fast sections, 2, 4 and 6, are marked by ostinati, steady rhythm, and accompanying, punctuated, rhythmical, vertical sonorities. Measure 35 is structurally significant. Here a 32 33 fresh melodic idea, i.e., a rhythmic ascending motive, fol- lowed by a marcato repeated-note melody (measure 36), intro- duces Section 4. The same idea recurs at the opening of Section 6 (measures 67-68). Because of this parallelism, in addition to similarities particular to 51 w and fast sections, the work might be called a "sectional fantasy," with a loose A B A C-B A C format. Various motives and effects transferred from section to section provide unity. By far the most frequent sonority, the tritone, pervades all six sections. Also distinctive is the major 7th prevailing in Sections 1, 3, 4 and 6. In ad- dition, diminished triads and diminished 7th chords occur .melodically and vertically throughout the work. Special harp effects in Sections 1, 2, 4 and 5 are pedal slides, harmonics, and sonorities played near the soundboard. These effects, along with glissandos in Sec- tions 1, 2, 4 and 6, are used sparingly, offering timbral and textural contraSts as well as unifying elements. Schuller employs row technique, using a row that is combinatorial: 34 I o l 4 . If) 9 3 JJ. 5 8 6 2 o E F G# B D c# G Eb A o A# Gb 0 11 Eb E G Bb Db o F# D G# B A F 11 a c Db E o Bb A Eb 's , F Ab Gb n 8 5 A Bb Db E G F# 0 Ab D F Eb B 5 2 F# G Bb Db E A F B D 0 Ab 2 P 3 G Ab B D F Bb E# c Eb Db A 3 R 9 Db D F Ab B Bb E c F# A G Eb 9 1 F Gb A c (Eb D G# E Bb Db B G 1 7 B c Eb Gb A G# D Bb E G F Db 7 4 G# A c Eb Gb F B G# E D Bb 4 6 A# B D F Ab G c# A Eb Gb E c 6 10 D D# F# A c B F o# G Bb Ab E 10 o 1 4 7 II) 9 3 JJ. 5 8 6 2 RI (The first row statement is shown in Example 2 on page 43) Analysis reveals the following sequence of row forms accounting for all pitches in the row and in the composition: P0 I0 R0 RI0 (measures l-8): P11 I11 RIll Rll (measures 9- 16); P8 18 R8 R18 (measures 16-22): P2 I2 R2 RI2 (measures 23-27); P3 I3 H3 H13 (measures 27-32), P9 I9 H9 RI9 (meas- ures 32-39), P1 I1 All R1 (measures 40-47); P7 I7 H7 35 (measures 47-56): I“ R4 (measures 56-63): P6 I6 (measures 63-69); I9 and R6 69-71): P1 , hexachordally combinatorial (measures and I7, combinatorial by five and seven-note segments (measures 71-73): and Is, or, a simultaneous ver- 0 and I4 ticalization of P , combinatorial by single notes (measures 73-76). A pattern of transpositions emerges (0, ll, 8, 2, 3, 9, l, 7, 4, 6) that closely coincides with the index numbers that designate the initial pitch class of Prime forms in the matrix (0, ll, 8, 5, 2, 3, 9, 1, 7, 4, 6, 10), excluding "5" and "10." It is possible to interpolate P5 between R18 and I2 , giving a more complete sequential representation of transpositions. If incorporated, P5 would begin with the hexad in measure 22, containing the first pentachord of P5 (A Bb Db E G), and continue through the first three beats of measure 24, which include the remaining seven pitches (C F# Ab D F Eb B). In this interpolation P5 appears in the order- ing: 1 2 3 4 5 7 6 10 11 12 8 9. It is, however, more logical not to allude to P5, but to identify the segment (beginning with the hexad in measure 22 and continuing through the third beat of measure 24) as 8 and a complete statement of P2 (from a continuation of RI the third beat of measure 23 to the third beat of measure 24), ordered: 1 2 3 4 5 6 7 8 9 12 10 11. The inclusion of P2 establishes a sequential continuity of all four forms of each transposition up to measure 56, where I“ breaks off the pattern after P7, I7 and R7. 36 Two paired row forms are combinatorial: PO and I3, 0 6 hexachordally combinatorial: and P and I , combinatorial by five and seven-note segments. PO: [E F G# B D cfilc Eb A c A# Gb I3: [G F# Eb c A BblE G# D B c# E O 6 P z [E F G# B Dllc# G Eb A c A# Gb . [A# A Gb Eb c Db 9..3 F D E Ab I Both of these paired row forms are found in Section 6 6 (measures 69-73), transposed, respectively, to R and I9 (from the 3rd beat of measure 69) in successive hexachords, l and I7 (from the 4th beat of measure 71) in a and to P simultaneous, 5:7-note usage. A third type of combinatoriality occurs in measures 73-76. This is a simultaneous pairing of single notes of PO 4 and I , accounting for a unique succession of [0,4,8] and [0,4] pitch-class sets in the final measures.l This concentration of combinatoriality in Section 6 might be referred to as a type of stretto. The use of hexachordal combinatoriality in measures 69-71 involves the first hexachord of I9 (ordered: 1 3 2 6 5 4), followed by the second hexachord of R6 (ordered: 7 8 10 ll 12 9). Although a "combinatorial" usage of these 1Designating au ented triads, major 3rds and minor 6ths in this segment, an 0,4,8] and E0,4] itch-class application points to a constraining use of 0,4 (i.e., the major 3rd and its inversion, the minor 6th) in vertical and horizontal segments. 37 hexachords might be questionable, and, perhaps a more appro- priate description of them would be "aggregates," the analy- sis overrules any other hexachordal designation, and I9 and R6 represent the best ordering. A designation of the first hexachord as R6 and/or the second hexachord as 19, ordered: 6 5 l 2 4 3 and 11 9 8 12 7 10, respectively, would not be justified. 1 and I7 in The simultaneous combinatorial use of P measures 71-73 begins on the fourth beat of measure 71, where the first five pitches of P1 occur successively (F F# A C Eb) in an ascending upper-voice segment. Below, in contrary motion, the first five pitches of I7 (B Bb G E Db) progress in the lowest voice. The sixth and seventh pitches of I7, D4 and G#, are bass notes in the penultimate sonority in the lower staff of measure 72 and in the first sonority of meas- l ure 73, completing a 5:7 combinatorial use of P and I7. The instance of single-note combinatoriality occurs in the last sector of the piece (measures 73-76) between P0 I“. Consisting primarily of a succession of [0,4,8] and and [0,4] pitch-class sets (i.e., augmented triads and minor 6ths or major 3rds), the notated pitches (excluding pitches that are played, but not notated in the glissando in measure 75) compare with a vertical and horizontal selection of paired pitches between the two row forms, PO and I“ (as shown in the notation and diagram in Example 1). These pairings account for the occurrence of all twelve pitch classes: F, F#, G, G#, A and m# occur in [0,4] or 38 [0,4,8] pitch-class sets: B and G# occur simultaneously (first beat of measure 25): and C occurs as a single note in measure 73. Of special note is the [0,4,8] pitch-class set consisting of the pitches F#, A# and D. Occurring three times in this sector, it is accounted for in a vertical- horizontal combination of the last two pitches of the paired O 4 set forms, P and I , as outlined in Example 1. EXAMPLE 1 Allegro ($.32) f AI I! m c: DI u I! It measures 73-76 Copyright © 1969 by Associated Music Publishers, Inc. Used by permission. - Another possible designation for this sector (measures 73—76) is 15. Beginning with the upper five pitches cf the first sonority of measure 73 (the lowest pitch has already been analyzed as belonging to I7, preceding it), 15 falls into place as follows: D B C F# Bb A F G# E D# G4 C# (or- dered 4 5 6 7 8 l 3 2 9 ll 12 10, in mixed and interchanged segments). This designation marks off an internal penta- chord, the first trichord, and the last tetrachord of I5. 39 Another feature of the row, an invariance of row seg- ments through transposition and/or inversion, is particular 0 among several row forms. Segments of P and 15, for example, keep intact two trichords and a tetrachord, as follows: P0: E F G#'B D o# G Eb A o A# Gb 15: A G# F lD B c F# Bb E c# Eb G Other invariant segments exist between tetrachords, trichords and/or dyads in the following paired row forms: PO and P6; P0 0 and P9: PO and P“, P0 and 11°. Po and 1°. P and 19; and, P10 and 11°. Use and P3. P 4 O 3 PO and I of invariance, however, is not evident. Hexachords play an important role, appearing horizon- tally and vertically as entities, and in two, three or four- note segments. Both hexachords of P0 have the same pitch- class set, [0,1,3,4,6,9] (1T5 and T6, respectively). In addition, both are symmetrical individually: dyads in the first hexachord are [0.1] - [0.3] - [0.1]. and dyads in the second hexachord are [0,4] - [0,3] - [0,4]. Pitch-class sets derived from [0,1,3,4,6,9], i.e., [0,1], [0,3], [0,4], [0.6], [0.3.6] and [0.3.6.9], are prevalent. Verticalization of’[0,1,3,4,6,9] occurs in measures 26, 58, 62 (twice). and 64, as follows: 2nd hexachord of R2 (measure 26), Fb-GH-Db-F#-Bb-Eb: 2nd hexachord of I“ (measure 58): Gb-Fh-B# (Ch)-Dh-Eb-Fh (gb' sounds fh'): lst hexachord of I“ (measure 62): Cb-Db-Eh-Gh-Ab-Bb: and . 40 lst hexachord of P6 (measure 64): Ab-Cb-DA-E#-Gh-Bb (assum- ing that there is a misprint in the accidentals before the notes, "A" and "c." These accidentals should be natural signs, as the designated pedal changes for ah and oh occur following this sonority). Other occurrences of hexachordal segments are concen- trated in measures 58 to 67, overlapping Sections 4, 5 and 6. Hexachords of I“ (measures 58-63) and P6 (measures 64-67) occur in a variety of independent statements. In unfolds as follows: lst hexachord (measure 58), segmented:-2nd hexachord (measure 58), vertical: 2nd hexachord (measure 59), in an ascending and descending glissando: 2nd hexachord (measure 59), in an ascending stepwise segment: lst hexa- chord (measures 61-62, beat 3), linear: lst hexachord (meas- ure 62), twice vertically: and, 2nd hexachord (measure 63), linear. I I Hexachords of P6 are stated as follows: lst hexachord (measures 63-64), segmented in measure 63 and vertical, as [O,l,3,4,6,9], in measure 64; 2nd hexachord (measures 64- 66), in a mixed linear ordering: and, 2nd hexachord (measure 67), in mixed dyads. Prior to measure 58, vertical and horizontal dyad, tri- chord and tetrachord structures are prevalent. Derived from both consecutive and successive row segments, these frequent- ly occur within hexachords. However, segmentation within hexachords_is not consistent, and, in most instances, is a mixture of consecutive (i.e., with one segment following 41 another) or successive (with each segment beginning on suc- cessive individual pitches) row segments. Some consistency of segmentation prevails in certain row statements where dyad, trichord or tetrachord row divi- sions are unique. Segmentation occurs as follows: tetrachord and dyads of IO (measures 3-4). trichords and dyads of RIO (measure 8); dyads of R11 (measures 14-15): dyads of P9 (measures 32-35): tetrachords or RI9 (measures 38-39): dyads of P1 (measures 40-41); and dyads of R11 (measures 44-46). As a rule, hexachords of the row, sometimes reordered within, remain intact in row statements. Only three excep- tions, 13 (measure 29), Pl (measures 40-41), and I7 (meas- ures 50-54), show one or two pitches belonging to one hexa- chord, occurring instead, among pitches of the other. One further consideration of constraints inherent in the row involves the prevalence of [0,1], [0,3], [0,4], [0,6], [0,3,6], and [0,3,6,9] pitch-class sets in the com- position. Tritones, major 7ths, and diminished triads and 7th chords appear frequently enough to be significant uni- fying elements. Other notable intervals are minor 6ths and minor 10ths, occurring occasionally in Sections 1 and 2, and predominating in Section 6. Not only are all of these pitch-class sets derived from the pitch-class set shared by both hexachords, [0,1,3,4,6,9], but their frequency of use is almost directly proportional to their occurrence in other row segments. For example, [b,6] occurs in all nine successive tetrachords ([0,l,4,73. 42 [0.3.6.9]. [0.1.3.6]. [0.1.3.7]. [0.1.2.6]. [0.2.6.8]. [O,2,5,8], [0.1.3,6] and [0,2,3,6]), in seven of the ten successive trichords ([0,1,4], [0,3,6], [0.3.6]. [0.1.3]. [0,1,6]. [0,2,6]. [0,2,6], [0,3,6], [0,1,3] and (20.2.6)). excluding [0,1,4] and [0,1,3], and in two consecutive dyads (between the 6th and 7th and 8th and 9th pitch classes). The pitch-class set, [0,1], occurs in five of the suc- cessive tetrachords, in four of the successive trichords and in the first and third dyad segments. Another [0,1] pitch-class set occurrence is found between the 9th and 11th (alternate) pitch classes. Consecutive minor thirds (pitches, 2-3-4-5 in the first hexachord and 8-9-10 in the second hexachord) account for frequent occurrences of [0,3], [0,3,6] and [0,3,6,9]. Occurring between the 6th and 7th and 11th and 12th pitches in the row, [0,4] accounts for a notable occurrence of minor 6ths. The opening row statement (Example 2) contains four tritones, two major 7ths, a linear.octave-displaced dimin- ished 7th chord, two minor lOths and a minor 6th. Not only setting a precedent by its intervallic content, this state- ment also introduces significant melodic and rhythmic com- ponents, i.e., short, ascending melodic segments and three rhythmic motives, "slow," "quick," and "short-long." 43 EXAMPLE 2 fit. Malta modcnto (J: 54) \ M7 - dim? measures 1-3 Copyright © 1969 by Associated Music Publishers, Inc. Used by permission. Serving only as a pitch-control medium, the row, in suc- ceeding statements, does not provide any demarcation of structural points, such as beginnings or endings of phrases or sections. Row statements vary inasmuch as they occur in direct or mixed orderings (preserving hexachords), and in variously- mixed horizontal and vertical segments. Frequently, repeat- ed or reiterated pitches occur within a row statement or as an extension of it, and ostinato or trill pitches, belong- ing to one row form, may overlap with the pitches of another row form. Most row statements, however, are only slightly re-ordered and have no pitch repetitions. An.inherent chromaticism in dodecaphonic writing 44 requires frequent pedal adjustments to alter, chromatically or enharmonically, a diatonic harp tuning. Some pedal changes, requiring athletic skill in order for the player to execute quiet and quick adjustments, detract from an ef- fective performance (note a triple pedal slide in measure 2 requiring one foot to change two pedals simultaneously, and a cluster of pedal changes occurring during a silence in measures 3, 28, 37, 58, 62 and 73-74). Editing could eliminate some pedal change problems, but no solution is evident to make a significant improve- ment. To complicate this dilemma, some necessary pedal changes are not indicated, e.g., Bb in measure 8, Db in measure 16, Db in measure 36, Eb and CA in measure 43, Eb in measure 65, and Ch in measure 73, while one indicated pedal change, 04 in measure 70, is not necessary. Two pedal indications, "F" in measure 55 and "G" in measure 63, might foil a performance. Both of these should have natural signs. The work exhibits an extensive use of the instrument's pitch range and incorporates distinguishing timbres. These include harmonics, sonorities played near the soundboard, pedal slides, glissandos, broad arpeggiated chords, an enharmonic trill, fingernail sonorities, and percussive downward-arpeggiated chords. By mandating a re-tuning of two strings (gh' to gb' and b4" to b#"), Schuller has devised a meritorious ac- complishment--an appropriate use of the harp in a 12-tone 45 composition that entails total pitch serialization. Analy- sis shows that this work incorporates some significant aspects of row technique, including combinatoriality, seg- mentation and a sequential organization of row forms. CHAPTER IV ANALYSIS OF map. COMPOSED BY BETSY JOLAS A continuous, constantly changing texture is prevalent in Tpanpha. This texture, having a gradually increasing -density, is unified by structural motives and pitches. The French word ppanpha, suggesting a cross section or slice of a harmonious body, is graphically represented on a multi- staff fold-out that portrays a cohesive panorama of gradual pitch-class consolidation and textural thickening. Tpanppa_consists of five continuous sections. In the first four, the texture thickens horizontally and vertical- ly, and in the fifth, the texture thins out, recapitulating previous material. Analysis reveals increasing textural density through Sections I-IV as follows: a contrapuntal thickening in Section I (measures 1-56), where the texture increases from one to four voices in a fugal exposition: a melodic thickening in Sections II (measures 56-80) and III (measures 81-148), via small-note embellishments and trills of varying lengths and expanding range, as well as frequent recurring pitches and occasional vertical sonorities: a ver- tical and horizontal thickening at the end of Section III, where various successive percussive effects reach a 46 4? climactic point: and further vertical thickening in Section IV (measures 149-180), resulting from a quickening rhythmic interaction of recurring pitches in a three to six-voice stratum. While textural thickening is one manifestation of increasing density, the presentation of pitches in Sections II through V shows another type of aggregate, i.e., a grad- ual consolidation of all twelve pitch classes. Section I arbitrarily presents individual pitch classes at prominent structural and melodic points, Sections II, III, and IV pre- present selective pitches in gradually accumulating groups, and Section V presents all twelve pitch classes collectively and consecutively, though not in any obvious significant ordering. Tpanpna also implies a series of consecutive numerical digits, such as those in a number or in the successive parts of a financial issue or a lottery. If this definition ap- plies to the composition, it is possible that pitch selec- tion and/or rhythmic groupings are subject to some pre-dis- posed ordering, but this is not apparent. It is also possible, with reference to "lottery" dig- its, that some durational or melodic properties are a result of chance occurrence. If indeed there are any chance oc- currences, it is only possible to conclude that spatial and dynamic elements would in different performances result in different interpretations. In performance, one note might be closer to or more distant from another, and trill lengths 48 and dynamic contrasts would vary, but the ordering of notes would not change. Conceivably, the composer used chance elements in the ordering or length of some pitch material, such as trills, small-note embellishments, and phrases, but this is not evident. What is evident is a unifying occurrence of fal- ling intervals and high and low notes, and a prudent selec- tion of pitches. Section I (measures'l-56) divides into three subsec- tions: measures 1-18, measures 19-35 and measures 36-56, with the last note, cb' (measure 56), eliding with the begin- ning of Section II. The three subsections of Section I con- ) tain 48, 37 and 49 separate single-note sonorities respec- tively and are 18, 17 and:20 measures long. These near equal subsections mark off two-voice, three-voice and four- voice entries in a fugal setting. In measure 1, Voice A begins on d' (sounding d', as a harmonic, but played, where it is notated, on the string an octave below). Voice B enters at the lower fourth in meas- ure 5. The "Subject," Voice A (measures 1-4), and "Answer," Voice B (measures 5-10), have in common, five pitches (d', g', ab', b' and db") and two ascending intervals (minor 2nds and major thirds). Their melodic shape is similar, with both voices ascending to a penultimate note and ending with a falling interval. Voice A ends with a descending minor 3rd, and Voice B ends with a descending major 6th, the complementary interval of a minor 3rd. In view of their 49 similar melodic shape and identical pitch and interval com- ponents, the first two voice entries function as Subject and Answer (Example 1). EXAMPLE 1 Voice'A Voice 3 ’ Voice A measures 1-10 0 1968 Heugel at Ole Used By Permission Of The Publisher Theodore Presser Company ’ Sole Representative U.S.A. Interaction of Voices A and B continues through the first subsection, with Voice A becoming the lower part and having a legato characteristic and Voice B taking on a stac- cato characteristic. An obscure germinal trill in subsection 1 becomes a motivic characteristic in Section III. In measures 1-37, 50 e" and e#" occur alternately as high points in the succes- sive phrases in the upper staff, creating an extremely aug- mented "trill." These non consecutive occurrences of e" or e#" are found in measures 3, 9, 11, 14, 16, 20 and 37 (notated in measure 37 as "f""). Voice C, a Subject entry, commences at the outset of subsection 2 (measure 19) as an inner part. The first five notes of Voice 0 are c', db', g', b' and d' (measures 19- 23). These pitches correspond with those in the Subject (measures 1-4) and contain the intervals of an ascending minor 2nd and major 3rd, common to both Subject and Answer. The falling major 6th, b'- d', in Voice C, recalls the fal- ling major 6th, e#"- g#', in the Answer phrase (measures 9-10). Voice B reappears in measure 20, keeping its stac- cato characteristic and at times appearing in three-note fragments (measures 20-21, 22, 26-29 and 34). A descending tritone and perfect 4th, e#"- b'- f#' (measures 20-21), in Voice B, is a germinal motive, recur- ring intact in measures 37-38, in a transposed retrograde inversion, D-G-c#, in Section III (measures 140-141), and in two overlapping ascending segments, db-g-c'-f#', in Section V (measures 193-194). Other occurrences in Section V are d'- A-Eb in measures 182-184, Eb-A-d in measures 190- 191, and a vertical statement, d'- ab'- eb", in measure 19?. Voice A, now in a lower range than in the first subsec- tion, takes on an augmentation characteristic with notes 51 having durations of two or more measures (measures 20-34). In keeping with the "thickening" qualities of the piece, the contrapuntal texture in the second subsection thickens ver- tically as a result of the fragmentation of Voice B, the lower range of Voice A, and the addition of Voice C. In subsection 3, Voice B, still staccato, has the function of a Subject entry (measure 36). This entry begins with an ascending major 6th (eb- c'), proceeds upwards through an ascending perfect 5th and minor 7th to f", then falls in two leaps through a tritone and perfect 4th to f#' (measures 37-38). Voice A begins on eh in measure 37 and continues as the bass line in long-note durations through measure 52, ending on BBb. Voice 0 appears mid-range (meas- ures 39-42) in long-note durations and continues in measures 45-55, proceeding upwards to ab"'. Voice D enters in meas- ure 38 on db"', continues as the upper voice through meas- ure 51 and ends on fb in measure 54. High and low notes, db"', a", BBb and ab"', occur- ring in subsection 3 (in measures 38, 48, 52 and 55, respec- tively), are germinal. All four recur in Section II (where db"' becomes db"), and in the successive percussive ef- fects in Section III (where ab"' becomes ab). BBb, a" and ab"' occur as outer horizontal planes in Section IV, and db"" occurs as a long, unison trill in Section V (measure 198). The first two notes of Voice D, the upper part in subsection 3, comprise a falling major 6th (enharmonically), 52 db"'- e" (measures 38-40). Adding further emphasis to the use of a falling major 6th is the elision of Section I with the beginning of Section 11 (measures 55-56). This elision comprises the pitches, ab"'- cb', which encompass two oc- taves plus a major 6th. While the predominant falling interval in Section I is a major 6th, the descending major and minor 3rd, perfect 4th, minor 7th, major 9th and tritone intervals also make a strong appearance at the end of melodic phrases. At phrase endings, a falling interval usually follows a succession of ascending notes or a single ascending interval, which point to its distinctive melodic characteristic. In Sections I and V, falling intervals occur both in individual voices and through interacting contrapuntal phrases. In Sections II and III, they occur in single melod- ic phrases, and in Section IV, they occur between interact- ing voices. Throughout Sections II and III, falling intervals undergo various transformations. In Section II, for example, they receive a rhythmic propulsion when grace notes, occur- ring as part of the intervals or just prior to them, spur their impact. In Section III, where falling intervals occur between non successive high and low notes in embellishment figures, they become wider as pitch material expands out- wards. In a culminating transformation at the conclusion of Section III, falling intervals permeate the perameters of range, dynamics, rhythmic propulsion and textural density as 53 they occur among climactic percussive sonorities. Through its five sections, united by falling intervals and certain high and low pitches in a constantly changing texture, the work is essentially a presentation of indivi- dual pitch classes in various textural transformations. All twelve pitch classes appear in some conspicuous way in Sec- tion I. Some occur at structural points, e.g., at the beginning or end of phrases, some occur at high and low points, and some are prominent by virtue of their frequent occurrence. For example, the pitches, d' (measure 1), c' (measure 19), and eb (measure 36), occur at the beginning of subsections 1, 2 and 3, respectively; g" occurs at the beginning of the second phrase of subsection 3 (measure 44); and cb' occurs at the conclusion of subsections 1 and 3. High and low points, db"', ah", BBb and ab"' occur re- spectively in measures 38, 47, 52 and 55. Alternating high points, e" and e#", occur regularly in measures 3-37: and gb', the most frequently occurring pitch in Section I, oc- curs at the end of several melodic phrases in Voice B (meas- ures 18, 21, 22, 38, 41, 44 and 47), and at various other points in the contrapuntal texture. This arbitrary selection of individual pitches com- prises all twelve pitch classes. No particular ordering or grouping is evident, and all twelve pitch classes do not appear consecutively until the end of the work (measures 197-199). Essentially, pitch classes undergo a continuous 54 spinning-out in various groupings in Sections II, III and IV. In each section a few pitch classes appear initially followed by a tonal expansion to all twelve pitch classes. As successive embellishments gradually accumulate pitches, their widening tonal range and increasing length effect continuous textural transformations. The most frequently occurring pitches in all three sections are eb', f' and gb', while "e and "b" occur consistently, but not as frequently. The initial phrase (measures 56-61) of Section II is similar to the melodic phrases in Section I, considering its shape, length and interval content. In successive phrases in Section II, melodic (large-note) material con- denses to repetitions in a narrowing tonal range, while em- bellishment (small-note) material occurs with more frequen- cy and with increasing tonal range and dynamic variety (Ex— ample 2). This gradual condensation of melodic material and EXAMPLE 2 < w” >D¢V>m measures 74-77 @1968 Heugel et Cie Used By Permission Of The Publisher Theodore Presser Company Sole Representative U.S.A. 55 expansion of embellishment material taking place in Section II continues in Section III where the beginning of the first phrase (measure 81) is similar to that of the phrases in Section II, creating a smooth transition. Initial melodic material entails a small number of pitches within a narrow range, and, as phrases progress, additional pitches alter the tonal make-up and range. From measure 82 to the end of Section III, phrases take on unique characteristics and sonorities, such as repeated notes ad lib., expanding embel- lishments, single and double trills, isolated single notes and vertical sonorities, and percussive effects. These elements are used with increasing frequency and duration in a continuous and changing texture through Section III (see Example 3 below, and Example 4 on page 5?). EXAMPLE 3 (Ala-la) (AMI-lac) (In "ll (“(0 f measures 121-124 © 1968 Heugel et Cie Used By Permission Of The Publisher Theodore Presser Company Sole Representative U.S.A. 56 The five phrases of Section III are increasingly longer than the six phrases in Section II. The last phrase of Sec- tion III, for example, begins with measure 109 and continues to the end of measure 148. Some of the measures in this phrase, measures 138, 134 and 144, 121, 124 and 148, are, respectively, two, three, four, six, and fifty-two times the regular length. A regular measure, indicated as, M.M., "ca 50," through Section I, fluctuates between "42" and "66" through Sections II and III, remains at "ca 48" through Sec- tion IV, and fluctuates in Section V between "ca 42" and "ca 84." These tempi are subject to many accelerandos and ritardandos in Sections II, III and V. In effect, much of the segment between measures 121 and 148, inclusive, in Section III, is unmeasured. A double barline occurring in Section III between measures 135 and 136. does not have any apparent structural significance with respect to the sections or total time span of the work. It does, however, mark a time span mid point within the unmeasured segment, from measure 121 up to the first percussive effect in measure 148. The last full system of measure 148 brings the work to a climactic point with a succession of percussive effects. After previous trills and small-note groups, two quick, cres- cendo sixteenth-note sonorities suddenly step up rhythmic momentum. The first of these is a vertical major 7th, and the second is a vertical [0,1,5] pitch-class set, encompas- . sing a minor 9th. Both are played near the soundboard. 57 Immediately following these two sonorities is a long, crescendo embellishment figure and a series of nine more percussive effects (Example 4). The first of these is a single note, a", played with the forefinger of the left hand pressing hard on the string as closely to the sound- board as possible, and the forefinger of the right hand plucking the middle of the string (the resultant effect compares favorably to a muted xylophone). EXAMPLE 4 (From the middle of the last full system of measure 148) ' © 1968 Heugel et Cie Used By Permission Of The Publisher Theodore Presser Company Sole Representative U.S.A. 58 A seven-note vertical sonority (encompassing e to bb') follows, containing all intervals ranging from a minor 2nd to a minor 9th. Next, a rip-type glissando in contrary motion is played with the fingernails of both hands moving towards each other from DA and c#"': the right hand finger- nails and left thumb nail proceed as instantaneously as possible along the strings in a descending and ascending sweep respectively. Next is a "normally-played,” fortis- simo open-spaced chord containing a vertical compilation of two perfect 4ths, a major 3rd, perfect 5th and tritone in the middle range, dampened immediately. Increasing momentum, a plectric-sounding, rapid. strum- ming-sonority requires the fingernails and fingertips of both hands to oscillate in short back and forth motions, with one hand whisking along ascending strings as the other brushes descending strings in fast, alternating, short strums. Im- mediately following, an ascending, brittle-sounding, secundal glissando is played with the index and middle fingers of the right hand near the soundboard on adjacent strings. The final three effects follow in quick succession--a whistling timbre made by rubbing the open left hand rapidly and vertically along as many wire strings as are within reach, a striking of the strings between approximately C and e with the palm of the left hand, and a pedal trill on AA# and AAA. The attack timbre of the trill is a loud metallic buzz triggered by the player holding the "A" pedal between the sharp and natural positions with the right foot, 59 and plucking the AA string very loudly. As the string vi- brates, a continuous up and down motion of the "A" pedal between the natural and sharp positions produces a pedal trill. The trill decays gradually, first losing the metal- lic buzz, then fading as the vibrating string loses momentum. With the decay of the pedal trill, a climactic rhyth- mic and dynamic thrust ceases. Section III ends at the con- clusion of measure 148 with a gradually slowing small-note embellishment in a low dynamic range. This creates a smooth transition to Section IV. Voicing in Section IV, ranging from three to six ver- tical planes, consists of repeated pitches in each voice interacting with those of other voices (often creating a falling interval effect). The vertical thickening due to multiple voicing, and an increase in rhythmic motion from interacting voices, enrich textural density (Example 5). EXAMPLE 5 > 1' i5 ml measures 163-167 © 1968 Heugel et Cie Used By Permission Of The Publisher Theodore Presser Company Sole Representative U.S.A. 60 A persistent, almost drone-like, repetition of pitches in individual voices in Section IV gives a richness to the tex- ture and accentuates high and low registers, thereby expand- ing vertical density. Frequent and inter-weaving dynamic contrasts along with interlocking small-note figurations' add further thickening elements. These small-note figura- tions use the same pitch material that appears in thematic segments, but in a free, melodic style, rather than in repeated-note fashion. Following the thick vertical texture and closely inter- acting lines of Section IV, an immediate contrast in Section V is achieved by the reappearance of a two-voice texture and flowing melodic phrases. In addition to the initial ascend- ing phrase-motive (measures l8l-182, 190, 193-194 and 199), reminiscent of the ascending beginning of phrases in Section I, Section V reiterates timbral effects and motives from various sections. These include muffled (staccato) notes (measures 186-187), harmonics (measure 197), and sonorities played near the soundboard (measures 183 and 191) from Sec- tion I, a single grace note (measure 182) from Section II, small-note embellishment groups (measures 187 and 196) from Sections II, III and IV, and isolated single-note and ver- tical sonorities (measures 185 and 191) and percussive ef- fects (measures 191, 194-195 and 197) from Section III. A descending phrase-beginning in measure 192 is reminiscent of that in measures 20, 34 and 43 in Section I, and phrase lengths and motion of Section V are, in general, reminiscent 61 of Section II. In Section V, pitch classes finally occur in collective statements. In measures 181-187 eleven pitch classes ap- pear, excluding bb. Beginning with the embellishment fig- ure in measure 187 and up to the end of measure 191, all twelve appear. Finally, in measures 197-199 (Example 6), all occur consecutively. starting with ab' and bb", re- spectively, in the initial two vertical structures (measure 197), and continuing to the end of the composition through cb', c"', a', c#"", D, eb', gb", FF, e"' and g"". This sequence of pitches is the only successive statement of all twelve pitch classes: however, it does not appear to be significant with regard to pitches in previous sections of the work. EXAMPLE 6 measures 197-199 © 1968 Heugel et Cie Used By Permission Of The Publisher Theodore Presser Company Sole Representative U.S.A. 62 Considering an occurrence of nine or ten dominant pitches in Sections II, III and IV, rather than a more equal representation of all twelve pitch classes, it is likely that the physical construction of the harp forces a constraint on selection. Indeed, it is possible to adjust pedals to vary a pitch selection during continuous melodic movement and to embrace all twelve chromatic pitches. This occurs in Sec- tion V where texture and melodic motion taper off. However, texture and tempo in Sections II, III and IV limit the use of chromatic segments. For example, execution of melodic segments, embellishment figures, and multi-voice vertical texture may be limited to the speed that a player can move necessary pedals. And, if tempo is a constraint, chromatic pedal adjustments would be limited to the feasibility of foot work. Consistently, the composer uses groups of pitches, selecting from up to ten distinct pitches that dominate each section, and two (g-and d, g and a, and g-and o# in Sections 11, III and IV, respectively) in relatively isot lated occurrences. Since the pitches, g, a and d, have no enharmonic equivalents among the possible chromatic alterations of the harp's C-major tuning, it would be logical to conclude that their limited use in complex chromatic textures (Sec- tions II, III and IV) is due to the mechanical limits of the harp. In the case of c# or db, a prevalence of dh and 63 ch would be a constraint in the same segment. Some pitch limitations might be expected, inasmuch as the harp is not totally chromatic. However, Trancha exhib- its an idiomatic use of the instrument in a unified and varied atonal texture. Furthermore, the work exploits the harp's registral timbres and unique percussive effects. CHAPTER V ANALYSIS OF TQCCATA FOR HARP, COMPOSED BY AMI MA'AYANI Tgapata fpr Harp is a study of rhythmic contrasts and melodic transformations. Its arch form, A B C B' A', is a vehicle by which, on the one hand, tempo and other idioms rise to the mid-portion of Section C, and decline there- after: and, on the other, increasing elaboration and reit- eration to the end of Section B' show a gradual textural propulsion and a widening declining axis. In a five part toccata fantasy design, the work con- sists of alternating contrapuntal and non contrapuntal sec- tions, individually containing distinctive rhythmic and melodic properties. Two textural-melodic ideas occur in Section A. The initial one, a melodic segment accompanied by whole-tone sonorities (measures 1-3), is followed by a succession of melodic segments, dominated by the rhythmic figures, W? or fijmeasures 4-10). These ideas are reiterated in Section A' in reverse order, rounding out the form. Con- trapuntal sections, B and B', consist of a lower melodic line, occasionally in octaves, versus pedal points and os- tinati. Section 0 forms an apex, in that its mid-portion 64 65 represents both a culmination of progressive increases in tempo, rhythmic momentum, pitch level and dynamics through prior sections, and an apex of a more or less symmetrical layout of tonal centers, pitch-class sets, and rhythmic material. Marked, "Lento (J= 44)," Sections A and A' (measures 1-11 and measures 136-160) present varied rhythmic figures in quarter-note units. Many of these rhythmic figures in- volve a thirty-second-note triplet or an eighth-note triplet. Others entail an octave grace-note or a triple-alternating- octave grace-note figure. Picking up the triplet motive, Section B (measures 12- 41), marked, "Allegro (.b= 120)," along with its elaborated counterpart, Section B' (measures 98-135), takes off in a perpetuum mobile sixteenth-note-triplet texture. And, Sec- tion C (measures 42-97), stepping up momentum with impet- uous thirty-second notes and punctuating grace notes, brings the work to a climactic, "Allegro vivo (.b= 144)," in its mid-portion (measures 66-81). With occasional shifts to triple, quintuple, or sep- tuple meters, sections progress basically in duple and quadruple meters. Incipient material occurs in the opening melodic phrase in measures l-3 (Example 1). Accompanied by vertical \Nhole-tone sonorities in the upper staff, this entire pitch asequence, for the most part moving in octaves in the lower estaff, may be designated as a primary segment. 66 Imbrication (i.e., the extraction of sequential melodic subcomponents) of this segment reveals pertinent three-note pitch-class sets, as diagramed in Example 1. The pitch- class set, [0,2,6], for example, represents the pitches c f# ab in the ordering, f# ab c. This pitch combination may be represented as a whole-step, [0,2] (two half-steps) plus a tritone, [0,6] (six half-steps). Other significant components of the segment in Example 1 are its melodic contours, embellishment figures, all-inter- val content, and pitch selection. While a strong whole-tone flavor would appear significant, in light of ensuing whole- tone segments in Sections A, B, B' and A', it is but one sonorous ingredient. What is pertinent is the pitch con- tent, c d eb gb ab bb. and the three-note pitch-class sets derived from the melodic material in the lower staff. EXAMPLE 1 E0. 2. 6] [0.1. 6] [0. A, 8] c ebc f# ab ebd bb f#c f# l..JIE036JE0..25]EO..15:JE0.»26] LENTO(J=4® F" _Wfl0li o‘l’ONE SONOIITIIS "I|l ll f > pesan (e ‘ measures 1-3 © 1962 and © 1969 by I.M.I. Israel Music Institute. All Rights Reserved. International Copyright Secured. Reprinted by permission of Boosey & Hawkes, Inc. Sole Agents. 6? Germinal, although not immediately apparent as such, these three-note sets derived from successive segmentation of the primary segment in measures 1-3 become the melodic material of triplet configurations in Sections A and A'. In turn, the most frequently occurring pitch-class sets in these triplet figures, [0,2,5] and [0,2,6], become prominent as melodic segments in Sections B and B'. In addition, the successive tonal centers, i.e., pedal points, in Section C may be construed as [0,2,5] groupings: Tonal centers: F D# C (measures 42-65) [0,2,5 ITS] ' o F D# (measures 82-89)‘ [0,2,5 1T5] D# G# Bb (measures 88-93) [0,2,5 T8] The pitch-class sets [0,2,6] and [0,2,5] represent whole- tone and quartal derivatives, respectively, as they are sub- sets of the prime forms, [0,2,4,6,8,10], representing the whole-tone scale, and [0,1,3,5,6,8,10], representing the major scale (since the pitches of the major scale may be notated as a series of 4ths,'derivatives in atonal music may be considered quartal). Quartal elements appear prominently through Sections B and B'. Octave-fifth, [0,7], ostinati alternating with oc- tave-tritone, [0,6], ostinati are prevalent in both sections. Greatly expanding quartal elements, Section B' contains [0,2,7] ostinati (measures 108-123), and ends with quartal related tonal centers: Eb (measures 115-120), Bb (measures 121-122), and F (measures 124-235). 68 The melodic segment, Bb-Ab-F, [0,2, 5 IT10]]; first appearing in measures 101-102, becomes a focal point of a textural thrust in Section B'. Through repetition (measures 105-106), rhythmic alteration (measures 111-114), and inver- sion (measures 128-131), this motive punctuates a prevailing F tonal center, including an F-minor segment (measures 108- 115), an F-Dorian segment (measures 128-135), and a penta- tonic sub-stratum beneath an over layer of ostinati in measures 104-115 and 119-120. This latter segment embraces accentuated pitches F Ab Bb Db Eb in the lower staff, as encircled in Example 2 (citing measures 104-107). EXAMPLE 2 ALLEGRO (ch: 120) measures 104-107 © 1962 and © 1969 by I.M.I. Israel Music Institute. All Rights Reserved. International Copyright Secured. Reprinted by permission of Boosey & Hawkes, Inc. Sole Agents. l[0,2,5 IT10] represents the pitch classes Bb Ab and F in descending order (inverted, or "1") and designating Bb as 0. Since Bb is the tenth integer in a chromatic series ascending from CA, the set is considered to be transposed 10 times (or, T10). 69 These F-minor, F-Dorian, and pentatonic segments are technically quartally derived, having the prime forms,2 [0,1,3,5,6,8,10 1T1], [0,1,3,5,6,8,10 T2], and [o,1,2,4,7, 9 T1], respectively. Another quartal entity is the prime form of the three glissandos occurring in Section B' (measures 119, 120 and 134). This prime form, [0,1,3,5,6,8,10], in two different transpositions, T7 and T2, represents, in respective glis- sandos, an.Eb-Mixolydian scale (measures 119-120) and an F-Dorian scale (measure 134). F-minor, F-Dorian and EbéMixolydian are related by inversional equivalence (i.e., their pitch-class sets, [0,1,3,5,6,8,10 1T3], [0,1,3,5,6,8,10 T2], and Eo.1.3.5.6. 8,10 1T1], having been transposed and inverted, may be rep- resented by the same prime form, [0,1,3,5,6,8,10]. This prime form is a superset of [0,2,5], as is the pentatonic prime form [0,2,4,7,9] (previously illustrated in Example 2). Another pentatonic pitch-class set, [0,2,4,7,9 ITO], is compiled in the pedal-point succession C-F-D#-G#-Bb-C in the concluding portion of Section 0 (measures 42-65). This segment, however, does not portray a conventional pentatonic coloration. Further study and comparison of the prime forms of glissandos reveals a significant correlation of basic inter- val patterns, or papa (i.e., a tally of successive intervals 2A prima form is an ascending numerical ordering, beginning with 0, of the integers of a pitch-class set. 70 in a pitch-class set). Glissandos occurring at the end of Sections A and B (measures 11 and 41) have the same prime form, [0,1,3,4,6,8,10], as do those in Section B' (measures 119, 120 and 134), in which case the prime form is [0,1,3,5, 6,8,10]. Two glissandos in Section A' (measures 147 and 149) also have the prime form. [0,1,3,5,6,8,10]. A third glissando in Section A' (measure 152) is identical to that at the end of Section I, having the prime form [0,1,3,4,6, 8,10]. These two prime forms, [0,1,3,5,6,8,10] and [0,1,3, 4,6,8,10], have an identical pip, 112222, representing two semitones and four whole-tones. Only the final glissando in Section A' (measure 159) entails a pip variation. Having the prime form, [0,1,3,5, 6,7,9], and a 111222 pip, the pitch content of this glis- sando, with the exception of one pitch-class, is identical to the glissando at the end of Section B (measure 41). While the glissando in measure 41 includes f4 and that in measure 159 includes ah, both share the pitches bb c d eb gb and ab. The significance of these commonly shared pitches can- not be overlooked. As components of the initial melodic segment and accompanying vertical whole-tone sonorities (measures 1-3), and of the final melodic segment and accom- panying whole-tone ostinato (measures 153-158), they unify the opening and closing segments of the piece--abutments of the arch, so to speak. A substitution of eh for eb in this pitch selection 71 as occurs in measure 5 results in a whole-tone entity, prime form, [0,2,4,6,8,10] (a superset of [o.2,6]). Ensuing whole-tone segments occur in Sections A and A' (measures 3-6:beat 3, 7-8:beat 3, and 153-156:beat l) and in Sections B and B' against an F pedal point and ostinati (measures 12- 19, 37-38, lOO:beat 2-103:beat 4, and 124-125). In alter- nating segments in Sections B and 8' (measures 20-21, 39-40, 98-lOO:beat 3, and 103) eb replaces eh, thus presenting the original pitch selection. While most whole-tone segments involve the pitches c d e gb ab bb, a whole-tone complement, db eb f g a b, occurs in measures 116-118. Also prominent are whole-tone derived pentatonic sonorities (measures 104-115 and 119- 120) and tritone structures (measures 18-19, 25-26, 101-102, and 107-110) juxtaposed in perpetuum mobile ostinati in Sections B and B'. Other well defined tonalities include F minor (measures 108-115) and F Dorian (measures 128-135), a dominant 7th arpeggio, V7 of F# (measure 140), and modal glissandos. Executed prominently, these encompass EbéMixolydian (meas- ures 119 and 120), F-Dorian (measure 134), B-Ionian (meas- ure 147), and B-Phrygian (measure 149) scales. Brief and usually contextually unrelated, they occur so distinctly as to merit recognition as an integral part of a fantasy de- sign. Yet their brevity, textural inconspicuousness, and individual infrequency, compare them to ingredients that tint rather than color a musical texture. 72 Perhaps more idiomatic, although still in a sense coloristic, are the quartal characteristics of Sections B and B' and the secundal attributes of Section C. Signifi- cantly, these features represent one aspect of the arch form, i.e., a progressivenarrowing of intervals to the mid-portion (measures 66-81) of Section C, and a widening thereafter. Another arch aspect is a quasi symmetry of tonal cen- ters: F# in Section A: F4 in Section B: F-Eb-C, C, and C-F- D#-G#-Bb-C, respectively, in the three portions of Section C; FA in Section B': and E# in Section A'. Having a con- sistent c pedal point and an [0.1 T11] pitch-class set in each measure, the mid-portion of Section C (measures 66-81) could be considered a transitive tuple, as its successive measures are interrelated in having two constant features. In this work, form is a logical and consolidating force, and melody and rhythm exert a singular influence in each section. While there are only a few harpistic effects (glissandos and harmonics), the perpetuum mobile ostinati and varied harmonic colorations enhance the use of the harp. CHAPTER VI ANALYSIS OF POUR HARPE, COMPOSED BY TADASI YAMANOUCHI In its three movements, Pap; Harpa incorporates a motivic unity in various contrapuntal idioms, and amalga- mates a succession of heptatonic and hexatonic pitch-class sets. While each movement is sectional, the work exhibits a progressive tightening of structure. Movement I, primar- ily in two voices, with some octave doublings, entails an introduction (measures 1-12), an A section (measures 13-30), a B, freely developmental, section (measures 31-55). another A section (measures 56-62), and a coda (measures 63-64). Movement II, in ternary A B A' sections (measures 1-8, 9-16 and 17-31 respectively), is a conglomerate of rhythmic for- ces. Sections A and A' consist of two-part counterpoint ac- companied by paralled chords, and section B comprises two to four voices. Movement III, in a well defined A B A' B' A" design (measures l-l4, 15-26, 27-46, 47-51 and 52-65, respec- tively), has a highly organized contrapuntal format. Sec- tions A, A' and A" consist of two distinct parts, one of which is in constant sixteenth-note motion, and the other a more varied rhythmic counterpart. Sections B and B' 73 74 entail three voices in a transparent texture. In Movements II and III, sections B and A', respectively, are develop- mental. Playing an important role in the structure of each sec- tion, certain contrapuntal techniques, e.g., repetition, sequence and ostinato, occur significantly. In.Movement I, for example, sequences, ostinati and repetition occur in short fragments, usually consisting of six or fewer notes. Sometimes exact repetition (measures 13-14 & 19-20) or exact transposition (measures 15-18 & 21-24 and 31-36 & 37- 43) occurs. In this instance transposition is up a half- step. In.Movement II, repetition occurs frequently, both within a single measure (especially in the A and A' sec- tions), and in comprising one or two-measure phrases (meas- ures 4 & 5, 12-13 & 14-15, 21-22 & 24-25 and 27 & 28) in all three sections. In Movement III, repetition becomes even more preva- lent, involving nearly all material. Sections A and A" are identical in measures 1-13 and 52-64. Section A' (meas- ures 27-46) consists of three, five-measure sequential stages (measures 27-31, 32-36 and 37-4l:l) in an ascending minor 3rd relationship, and a repetition of measures 41-42 in diminution in measures 43-44. At the interval of a perfect 4th. measures 47-5l:l in Section B' reiterate measures 15-22 in Section B. Serving an important unifying function in this 75 varied contrapuntal texture, are certain frequent and prom- inently occurring rhythmic motives. Based on either an un- even (BJ or an even (D) rhythmic cell. and occurring in several intervals, they appear variously in retrograde, dim- inution, augmentation or inversion. What is significant is their unique appearance in individual sections or movements. For example, the motive i]. first occurs in the Intro- duction section (Example 1) of Movement I (measures 1, 3, 7, 8, 9 and 12) in ascending half-steps or whole-steps, and is later reiterated in the B section (measures 51 and 53). In section B of Movement II, this motive occurs in ascending octaves (measures'15-16) and, in the B and B' sections of Movement III, in ascending whole and half-steps (measures 15, 17, 18, 20, 22, 47, 49 and 51). In the A section of’Movement I, this ascending short- long motive is transformed to a descending long-short (Jjj) form (measures 26:4 and 30:1) involving a simultaneous de- scending minor 2nd and tritone. In ensuing sections, this descending long-short form occurs in [0,5] and [0,6] intervals in section A' of‘Move- ment II (measures 22, 25 and 26), and in octaves (.fij) in the A and A' sections of Movement III (measures 14, 31, 36 and‘ 46). ' A descending short-long form (.fil) occurs in half-steps in the A and B sections of Movement 11 (measures 8 and 12 respectively), and in rhythmically displaced descending tri- tones in the A, A' and A" sections of’Movement III 76 EXAMPLE 1 Lost Jun-10- “I "I A M measures 1-12 (Introduction section of Movement I) © Copyright 1965 by Tadasi Yamanouchi Assigned to International Music Publishers Co. , Ltd. , Tokyo Used by permission of Mr. Yamanouchi. 77 (measures 3-4, 7-8, 28, 29 and 58-59). Also rhythmically displaced are [0.6], [0,7] and [0,8] intervals in the A' section (measures 28, 29, 33, 34, 38»and 39). Making an initial appearance in Movement I, in both ascending and descending forms, but not in retrograde, is a short-long )J (0r)J,) motive. This appears in ascending form in the Introduction (Example 1, measures 1 and 3), reiterated in measures 51 and 53, and in descending form in the A and B sections (measures l3, 19, 24, 25, 28, 31, 33, 36, 37, 39, 40, 43 and 44), and reiterated in section A' (measures 56, 62 and 63). This motivic idea (.hJ) recurs in the A' section of Movement II in descending major 7ths and tritones (measure 20), and in a rhythmically displaced major 7th (measures 22- ~23). In the A and A" sections of’Movement III, rhythmical- ly displaced major 7ths in augmentation (fil) occur in measures 4, 8, 55 and 59. Significant rhythmic motives that are based on an even rhythmic cell arefi and DEB . Both occur in the Introduction section of'Movement I (Example 1, measures 2, 4, 5 and 6-11, respectively), but do not recur in close association thereafter. The six-note ascending-descending sixteenth-note pat- tern from measure 2 recurs prominently in the A, A' and A" sections of Movement III (measures 3, 7, 11-12, 27-30, 32- 35, 37-40, 54, 58 and 62-63). A descending six-note six- teenth-note figure occurs in the A and A' sections of 78 Movement II (measures 2 and 18), and a corresponding ascen- ding sixteenth-note figure appears in the B and B' sections of Movement III (measures 21-23 and 50). Melodic segments, based on the D Dflrhythmic pat- tern recur in the B and A' sections of Movement I and in the B section of Movement 11. Sometimes occurring in ostinati, repetition or sequences, these patterns create a continuous, eighth-note motion in various metric divisions. These con- tinuous-eighth-note sections in Movements I and II, along. with the constant-sixteenth-note A, A' and A" sections in Movement III, alternate with rhythmically varied sections in their respective movements. A motive first occurring in the Introduction of Move- ment_I (Example 1, measures 7 and 8) in descending form (W), later occurs in the A and Af'Tjsections of Movement II in an inverted retrograde form (W) in measures 1, 4, 5, 17 and 30. Another significant melodic-rhythmic motive in Movement I (A#-B-e-d), first occurring in the initial four eighth-notes in the lower part of measure 10 (Example 1), and recurring transposed in the A section (measures l3, 19, 25 and 28) and A' section (measures 56 and 62), occurs in rhythmically dis- placed sixteenth-note diminution in measures 26 and 29. This motive reappears in the B section of Movement II in quarter-note augmentation (measure 13) and in broken octave, Dr, figures in measure 15. Glissandos also fit into ascending and descending forms 79 in various sections and movements. While a continuous down-up-down-up pattern occurs in the Introduction (Example 1, measures 10-11) and B sections (measures 49, 52 and 54) of Movement I, in the B section of Movement II (measures 13 and 15), and in the A' section ofNMovement III (measures 41- 44), ascending glissandos occur in the B section of Movement I (measures 31 and 37). and descending glissandos occur in the A and A' sections of'Movement II (measures 1, 4, 5, 17 and 30) and in the A, B and A' sections of’Movement III (measures 13, 25, 26, 31, 36 and 45). A final single down- up glissando occurs at the end of'Movement III (measure 64). In addition to having a unifying appearance in differ- ent sections and/or movements, rhythmic motives also serve a unifying function in creating a smooth transition from one section to another. Another overall unifying element is the pitch-class set [0,1,6] (consisting of a tritone and a minor 2nd or major 7th). In various melodic and vertical forms, this accrues prominence by its frequent occurrence in.Movements I and II, and by its occurrence both in significant rhythmic motives and at strategic structural points. In the Intro- duction of’Movement I (Example 1), for example, [0,1,6] in the form of a descending major 7th followed by an ascending tritone, e-F-B, in measures 5-6, occurs at the outset of even eighth-note (EDD) segments. This motive recurs in ostinato in measures 7-9 and is transposed in measures 15, 30-31, 42, 45-48 and 58. In Movement II, Section A', it 80 occurs transposed in measures 22-23. Another [0,1,6] pitch-class set in Movement I, A#-B-e. at the beginning of measure 10 (Example 1) recurs in meas- ures 13, 19, 25, 26, 28, 29, 56 and 62. In Movement II, this motive is inverted (fb'-cb-bb and gb'-db'-c', in meas- ures 2 and 18, respectively). A third.[0,1,6] set in yet another melodic form occurs at the beginning of’Movement II, a'-bb'-e". This mottye, also associated with a significant rhythmic figure (J77? ). is transposed in measures 4, 5 and 17 and reiterated in measure 30. An [0,1,6] pitch-class set occurs in vertical structures in the Intr0duction (Example 1, measures 2 and 4), in the A section of Movement I (measure 24), and in Movement II (measures 1-2, 4-8, 17, 19, 30 and 31). While [0,1,6] does not occur significantly in Movement 111, individual components of'[0,l,6], i.e., major 7ths and tritones, are prevalent. A notable frequency of[:0,l,6,7] occurs in the A and B sections of’Movement I (measures 15, 16, 21, 22, 30-31, 33, 36, 39-42 and 48) in both a melodic form, such as d#"-e'- bb'-a' (measure 15), and in vertical-horizontal forms, such as 2;, - :7. (measure 16) and d'- eb- if. (measure 33). From another organizational standpoint, i.e., a use of heptatonic and hexatonic sets in successive musical seg- ments, the work may be said to have a veritable synthetic scale organization. While this may or may not be the case, 81 analysis points to a use of six or seven pitch classes in sections or parts of sections, involving individual phrases or groups of phrases, as if the composition were conceived by a succession of pre—set pedal arrangements on the harp. In the Introduction section of’Movement I (Example 1), for example, the heptatonic pitch-class sets, [0,1,2,3,5,8, 9 T3] and [0.1.3.5.6.7,9 IT5] (having the gaps 111123 and 111222, respectively),-divide the section into two portions. The first pitch-class set involves measures 1-5, and the second, beginning with the last two eighth-notes of measure 5, continues through measure 12. These two sets control pitch material in the Introduction, inasmuch as they are set by the pedal positions of the harp, and all of their pitch-class components (D# Ch BA FA Gb Ab and Dh C4 B4 EA Fh G# A#) occur in the respective melodic material. A study of pitch selection in successive groupings in the remainder of the work reveals a significant occurrence of the pip_111123 in pitch-class sets in.Movements I and II, and of the pip 111222 in Movements I, II and III. Having the pip 111222, the most frequently occurring set is [0,1, 3,5,6,7,9]. Certain others, creating specific pipa, are unique to Movements II and III. In Movement II, for example, hexatonic and heptatonic sets having the papa. 11223 and 111113, respectively, make a strong appearance, while in Movement III, hexatonic pitch-class sets having the pip 11222 are prevalent. In part, these bip correlations point to a major 82 occurrence of repetition and exact transposition, although most repetition involves only short melodic segments. Other~ than pips. no identifiable correlation among pitch-class sets in the work is apparent. Short melodic segments with- in hexatonic and heptatonic divisions are otherwise promi- nent by their association with a rhythmic motive, or notable by virtue of their repetition or transposition in other sections. Whereas pitch-class sets are not related to a pre- established tonal or atonal compositional idiom, certain motivic and formal elements succumb to a somewhat quasi- impressionistic rendering of the titles of the three move- ments: I. "La muse jouant 1e cithara a Hélicon" II. "La musicien jouant 1a harpe" III. "Bahram Gur chassant avec Azadé" While unrelated in a literary sense, these designated titles depict three interrelated images invoking certain contrasts in mood and reflection: a muse playing a lyre while sitting on Mt. Helicon: a musician playing a harp, thus inspired by a muse: and a Persian epic involving two characters in a hunt or a chase. A rendition of such an epic is described in the ngaaay, (Book Eight: "The Songs of the Harper"). Endeared by a muse, the blind Phaeacian Court musician, Demodocus, prepares to render an inspired narrative with song and harping: 83 The crier soon came, leading that man of song whom the Muse cherished: by her gift he knew the good of life, and evil-- for she who lent him sweetness made him blind. PonténoBs fixed a studded chair for him hard by a pillar amid the banqueters, hanging the taut harp from a peg above him, and guided up his hands upon the strings, . In time, when hunger and thirst were turned away, the Muse brought to the minstrel' s mind a song of heroes whose great fame rang under heaven:l Some symbolic representation of a muse, a musician and an epic chase occurs in Eppp_pappa. Figuratively represen- ting a supernal abode and free spirit of a muse, Movement I in slow to moderate tempos entails primarily ascending moti- vic forms in a free developmental style. Movement II, also in slow to moderate tempos, represents a muse inspired earthly musician. Here, descending forms of motives from Movement I occur in repetitious segments within the con- straint of an A B A' format. Movement III, in fast to moder- ate tempos, represents an epic chase and "heavenly interven- tion." In A B A' B' A" form, the movement presents a steadily moving line in hexameter pursuit of an irregular leaping contrapuntal line in its A sections, and a lyrical pyramiding of muse motives (reflective of Movement I) in one to three-measure segments in its B sections. Although 1Homer,T _pa_ng§§_y,, translated by Robert Fitzgerald (Garden City, New York: Anchor Books, Doubleday & Company, Inc., 1963), 127. 84 distinct, symbolic motives do not suggest a leitmotif usage, and individual movements do not suggest character depiction beyond subtleties of their structural design. Besides structural inferences and some suggestion of motivic imagery, the work exhibits other impressionistic properties, e.g., synthetic scales, parallel chords, tritone structures, and a prevailing tonal ambiguity. These proper- ties imply in name only, a certain Dabusayian character, as they occur in this work in highly dissonant textures. For example, linear and vertical tritones and major 7ths, often appearing together in [0,1,6] pitch-class sets, create inces- sant dissonance. Underlying synthetic six and seven-note scales having three, four or five semitones create dissonant linear and contrapuntal patterns. Parallel octave-fifth (Movement 11, measures 21-22 and 24-26), octave-third (Move- ment III, measures 15-16), octave-third-fifth (Movement III, measures 18-19 and 48), and octave-minor 2nd (Movement III, measures 21 and 23) harmonies, converging with dissonant linear motives, intensify dissonance texturally and rhyth- mically. Such prevailing dissonance, luxuriant with tritones, major 7ths and a chromaticism attributable to pre-set pedal positions of the harp, has inherent tonal ambiguity. Only a marked occurrence of the pitch-class eh or fb designates any semblance of pitch center. Occurring as the first and final pitch of the work and in the concluding sonorities of each of the three sections in Movements I (measures 12, 55 85 and 64) and 11 (measures 8, 16 and 31), ch also occurs in 80% of the designated synthetic scale pitch fields. Con- currently, the pitch classes a# or bb and f4 or e# occur in 70% of these designated pitch fields. What results is a centric priority of eh, a tritonic polarity between eh and a# in.Movement I, transposed to other pitches in ensuing movements, and a distinctive motivic chromaticism involving an initial descending major 7th or ascending minor 2nd in motives in all movements. As its title infers, Pour Happe could not be performed on any other instrument. Besides calling for glissandos, harmonics and pedal slides, the work contains passages requiring the harp's unique enharmonic capacity. And, apart from being extremely dissonant, as well as tightly organized in terms of rhythmic-melodic motives, repetition, form and 'contrapuntal techniques, it lends itself to an expressive reminiscence of an ancient legacy, i.e., the historical role of the harp in mythology and in narrative accompaniment. CHAPTER VII SUMMARY AND CONCLUSIONS The four works analyzed in this study not only use the harp well and represent contemporary compositional styles, but illustrate some challenges that the instrument presents to performers and composers. These concern the harp's diatonic nature and the pedal mechanism devised to make it chromatic. All four works are chromatic, atonal, contrapun- tal and dissonant, and exhibit constraints in the form of pedal usage and pitch selection. Schuller's zappaay, a twelve-tone work that requires a re-tuning of two strings, masters the harp's chromatic limitations but necessitates many pedal changes. Yamanouchi, on the other hand, avoids pedal fatigue in Ppur Happa with pre-set pedal arrangements having a built-in chromaticism. Jolas, in Tpanppa, utilizes a.pitch selection that does not require extensive pedal work, but that displays a minimal use of certain pitches having no enharmonic equivalents on the harp. Malayani uses perpetuum mobile ostinati with subtle chromatic changes in Tappapa, exemplifying an effec- tive chromaticism, but avoiding cumbersome pedal changes. Perhaps Berlioz had a solution for chromatic limita- tions when he wrote in 1843: ' 86 87 Three synonyms are therefore still wanting on the harp: D, G and A. This defect (for such it is indeed) would disappear if the manufacturers would provide . . a trifle action for the pedals of the three notes Cb, Pb and G , which would permit raising these strings by three semitones.l With regard to the harp's singular percussive and spe- cial timbres, it would appear that they may be used effec- tively at a minimum, as in the Yamanouchi and.Ma'ayani works, or at a maximum, as by Schuller and Jolas. The instrument is used to a good advantage in ostinato passages by Ma'ayani, Schuller and Yamanouchi, and in contrapuntal textures by all four composers, as voices in different ranges are delin- eated by distinguishing registral timbres. In addition, all four works emphasize the tritone. A review of selected solo and chamber works points to a great increase in the number of harp works from the 1950's through the 1970's as compared with a selected list of pre- 1950 works (see Appendices A, B and 0). While these list- ings not only represent idiomatic writing, they also exem- plify concurrent trends in compositional style, such as polytonality, dodecaphony, atonalism and dissonant counter- point, and point to a significant repertory. To the extent that it can be traced through history, 1Hector Berlioz, Treatiaa on Ipatrumeptatipa, enlarged and revised by Richard Strauss, translated by Theodore Front (New York: E.F. Kalmus, 1948), 142. 88 the harp has upheld a professional function in the main- stream of Western musical activity. While its usefulness has varied due to the extent of its chromatic or modulatory limitations in various musical styles, it has retained an accompanyment, symbolic and coloristic usage, and in its present-day structure, has become a significant resource for twentieth-century compositional innovations. In an instrumental grouping or standing soloistically, the harp remains serene and enchanting. APPENDICES APPENDIX A SELECTED LIST OF HARP WORKS PRIOR TO THE MID-TWENTIETH CENTURY Bach, Carl Philipp Emanuel. Sonata for Harp. Edited by Lucile Lawrence. New York: Lyra Music Company, 1963. Badings, Henk. Capriccio (Quintet No. 3), for flute, violin, viola, Violoncello and harp. New York: C.F. Peters Corporation, 1933. ------- . Sonate voor Harp (1944). Amsterdam: Donemus Foundation, 1965. Bax, Arnold. Elegiac Trio for flute, viola and harp (ca. 1916). London: J. & W. Chester, 1920. Beethoven, Ludwig von. Variations on a Swiss Air for solo harp, Op. 183 (ca. 1798). Edited by Lucile Lawrence. New York: Lyra Music Company, 1971. Berezowsky, Nicolai. Concerto for Harp and Orchestra, Op. 31 (1944). Harp part edited by Carlos Salzedo. Philadelphia: Elkan-Vogel Co., Inc., 1947. Brahms, Johannes. Vier Gesénge, Op. 17, No. 1, for women's chorus, two horns and harp (1860). New York: C.F. Peters Corporation, 1965.- Britten. Benjamin. A Ceremony of Carols, Op. 28, for triple voices and harp (1942). Boosey & Co., Ltd., 19 3. Bfisser, Henri. Piece de Concert, Op. 32, for the harp. Paris: Alphonse Leduc, 1945. New York: Belwin Mills Publishing Corporation, Kalmus Harp Series. Caplet, André. Conte Fantastique for harp and string quartet. Paris: Durand et Cie, 1924. ------- . Divertissement a l'espagnole. Paris: Durand et Cie, 1925. 89 9O ------- . Divertissement a la francaise. Paris: Durand et Cie, 1925. Debussy, Claude. Danse Sacrée et Danse Profane (1904). Edited for pedal harp by H. Renié. Paris: Editions Durand et Cie., 1947, c1904. New York: Lyra.Music Co. ------- . Sonate pour flfite, alto et harpe (1915)- Paris: Durand et Cie, 1916. Dresden, Sem. Sonata for flute and harp. Paris: Editions Salabert, 1924. de Falla, Manuel. Psyche, for mezzo-soprano, flute, harp, violin, viola and violoncello. London: J. & W. Chester, Ltd., 1927. Fauré, Gabriel. Impromptu pour la harpe, Op. 86. Paris: Editions Durand et Cie, 1904. Bryn.Mawr: Theodore Presser Co. Forst, Rudolf. Trio for flute, harp and violoncello (1947). Unpublished. Goossens, Eugene. Suite for flute, violin and harp. Lon- don: J. & W. Chester, 1917. Gould, Morton. Harvest, for Vibraphone, harp and strings. New York: Chappell & Co., 1945. Handel, George Fr. Concerto in Bb for Harp, Op. 4, No. 6 (1738). Edited by Lucile Lawrence. New York: Lyra Music Co., 1972. Harrison, Lou. Suite for Violoncello and Harp (1949). New York: Peer International Corp., 1950. Hindemith, Pau1.~ Concerto for woodwinds, harp and orches- tra (1949). Mainz: B. Schott's Sfihne, 1950. ------- . Konzertmusik ffir Klavier, Blechblfiser und Harfen (2 harps). Mainz: B. Schott's Sahne, 1930. ------- . Sonate ffir harfe (1939). Mainz: B. Schott's sahne. 1940. Ingelbrecht, D.E. Sonatine for flute and harp (1918). Paris: Alphonse Leduc, 1920. Koutzen, Boris. Trio for flute, harp and violoncello (1930-32). New York: Lyra Music Co., 1965. 91 Lawes, William. "Select Consort Music," (1630-40), for violin, division viol, theorbo and harp, transcribed and edited by Murray Lefkowitz, in.Musica Britannica. London: Stainer & Bell, Ltd., 1963. Bodleian Library MS. ' Mason, Daniel Gregory. Three Pieces (Sextet) for harp, flute and string quartet, Op. 13. New York: G. Schir- mer, 1923. Mozart, Wolfgang Amadeus. Concerto in C Major for flute harp and orchestra, K299 (1778). Flute and harp parts edited by Carlos Salzedo (1951). San Antonio: South- ern.Music Company, 1958. Pierné, Gabriel. Impromptu-Ca ice pour la Harpe, Op. 9. Paris: Alphonse Leduc., [I955]. New York: Lyra Music Co. Ravel,-Maurice. Introduction et Allegro pour Harp avec acc. de Quatuor a cordes, Flute et Clarinette (1905- 06). Paris: Editions Durand et Cie, 1906. Riegger, Wallingford. Divertissement for flute, harp and violoncello, Op. 15. New York: American Composers Alliance, 1933. , Roslavetz, Nicholas. Nocturne for oboe, harp, 2 viOli and violoncello: or, for harp and string quartet (1913). New York: Lyra Music Co., 1971. Rota, Nino.. Sarabanda e Toccata per Arpa (1945). Milan: G. Ricordi & Co., 1955. ------- . Quintet for flute, oboe, viola, violoncello and harp (1935). Milan: G. Ricordi, 1937. ------- . Sonata for flute and harp (1937). Milan: G. Ricordi. 1977. 1939- Roussel, Albert. Impromptu, Op. 21. Paris: Editions Durand & Cie, 1919. ------- . Serenade, Op. 30, for flute, violin, viola, violoncello and harp. Paris: Durand et Cie, 1926. Ruyneman, Daniel. HiEroglyphs, for 3 flutes, 2 mandolins, 2 guitars, celesta, harp, cup bells or Vibraphone, and piano. London: J. & W. Chester, 1918. Saint-Sa'éns, Camille. Fantaisie pour Harpe Op. 95 (1893). Paris: Editions Durand et Cie., [n.d.]. New York: Edwin F. Kalmus. 92 - ------ . Fantaisie pour Violon et Harpe, Op. 124. Paris: Durand et Cie, 1907. New York: Lyra Music Company. Salzedo, Carlos. Concerto for Harp and Seven Woodwinds (flute/ iccolo, oboe, 2 clarinets, bassoon, horn, trumpet . Unpublished (1925-26). ------- . Preambule et Jeux, for harp and nine instruments (flute, oboe, bassoon, horn, string quartet and double- bass), Unpublished (1929). ------- . Prelude for a Drama, for one or several harps (1948). New York: M. Baron Co., 1951. ------- . Scintillation for Harp (1936). Philadelphia: Elkan-Vogel Co., Inc., 1937. ------- . Sonata for Harp and Piano (in one movement) (1922). New York: Lyra Music Company, 1978. Schaposhnikov, Adrian. Sonata for Flute and Harp (1924). Moscow: Muzyka, State Music Publishers. Reprint, Lyra Music Company, New York. Schoenberg, Arnold. Herzgewfichse, Op. 20, ffir Hoher sopran, celesta, harmonium und harfe. Vienna: Universal ' Edition, 1920. Available through Belmont Music Pub— lishers, Los Angeles. Spohr, Ludwig. Sonata Concertante, Op. 113, for harp and violin. Revised and edited by Marjorie Call and Louis Kaufman. Bryn Mawr: Theodore Presser Co., 1958. Starer, Robert. Prelude for Harp (1948). New York: Peer International Corp., 1950. Webern, Anton von. Ffinf geistliche Lieder, O . 15, for voice, flute, clarinet (or bass clarinet , trumpet, harp and violin (or viola). London: Universal-Edi- tion, 1924. ------- . Zwei Lieder, Op. 8, ffir Gesang und acht Instru- mente. London: Universal-Edition, 1926. APPENDIX B SELECTED LIST OF SOLO HARP LITERATURE FROM THE MID-20TH CENTURY TO THE PRESENT Avni, Tzvi. Chaconne for Harp. Tel-Aviv: Israel Music Institute, 1962. Ben-Haim, Paul. Poéme. Tel-Aviv: Israeli Music Publica- tions Limited, 1959. Berio, Luciano. Sequenza II (1963). London: Universal Edition, Ltd., 1965. Berkeley, Lennox. Nocturne for Harp. London: Stainer-and Bell. -NeW'York:. Galaxy Music Corp., 1967. Boucourechliev, André. Archipel 5A4Harpe (1970). Paris: Editions Musicales Alphonse Leduc et Cie, 1972. Britten, Benjamin. Suite for Harp, Op. 83 (1969). London: Faber Music Ltd., 1970.’ New York: G. Schirmer. Bussotti, Sylvano. Fragmentations pour un Joueur de Hagpes (1962). Firenze: Aldo Bruzzichelli, Editore, 19 3. Capanna, Robert. Phorminx for solo harp. New York: - G. Schirmer, 1975. Castelnuovo-Tedesco, Mario. Rhapsody for Harp (1967). Hastings-on-Hudson, New York: General Music Publish- ing 00., Inc., 19730 Chavez, Carlos. Invention iii, for Harp (1967). New York: Belwin Mills Publishing Corp., 1969. Creston, Paul. Olympia, Rhapsody for Harp Solo, Op. 94. New York: G. Schirmer, Inc., 1968. Dello Joio, Norman. Bagatelles for Harp. New York: Edward B. Marks Music Corp., 1969. Devoid, Natko. Structures Transparentes, for harp. Cologne: Hans Gerig, 1966. Melville, New York: MCA Music. 93 94 Feld, Jindrich. Toccata e Passacaglia (1976). New York: G. Schirmer, 1980. Fox, Charles. Ancient Dance. New York: Peer International Corp., 1968. Friedewald, Russell E. Sonatina for Harp (2 movements). Unpublished (Michigan State University, 1953). GlanvilleéHicks, Peggy. Sonata for Harp. New York: Weintraub Music Company, 1953. Haines, Edmund. Sonata for Harp, [1970]. Unpublished. Harrison, Lou. Music for Harp. Santa.Monica: Salvi Publications, 1978. Holli er, Heinz. Sequenzen fiber Johannes 1:32, ffir Harfe (1962). Mainz: B. Schott's SBhne, 1965. Jolas, Betsy. Tranche, pour harpe seule (1967). Paris: Heugel et Cie, 1968. Jolivet, Andre. Prelude Pour Harpe. London: Boosey & Hawkes Music Publishers Ltd., 1966. Krenek, Ernst. Sonata for Harp (1955). Kassel: Barenreiter-Verlag, 1959. de Leeuw, Ton. The Four Seasons, for Harp (1964). Amster- dam: Donemus, 1964. C.F. Peters Corporation, New York, Sole Agents. Lomon, Ruth. Dust Devils, for Solo Harp. Washington, D.C.: Arsis Press, 1976. Mafayani, Ami. Maquamat, for harp (1964). Tel-Aviv: Israeli Music Publications Ltd., 1965. New York: Lyra Music Co . ------- . Sonata (1979). New York: Lyra Music Company, ------- . Toccata for Harp (1961). Tel-Aviv: Israel Music Institute, 1962 and 1969. Milhaud, Darius. Sonate pour Harpe (1971). Paris: Edi- tions Max Eschig, 1972. Natra, Ser iu. Sonatina for Harp, Revised 2nd edition (1978?. Tel Aviv: Israel Music Institute, 1965. 95 Persichetti, Vincent. Parable for Solo Harp, Op. 119. Bryn.Mawr: Elkan-Vogel, Inc., 1973. Rands, Bernard. Formants I, "Les Gestes," for harp. Lon- don: Universal-Edition, 1965. Rochberg, George. Ukiyo-E (Pictures of the Floating World) (1973). Bryn Mawr: Theodore Presser Co., 1976. Rodrigo, Joaquin. Impromptu para arpa. ‘Madrid: Union Musical Espafiola-Editores, 1963. Rorem, de. Sky Music (1976). New York: Boosey & Hawkes, 197 . Schifrin, Lalo. Continuum for Solo Harp. New York: Associated Music Publishers, Inc., 1970. Schuller, Gunther. Fantasy for Solo Harp. New York: Associated Music Publishers, Inc., 1969. Sheinfeld, David. Patterns for Harp. New York: Hendon Music Company, 1972. Sheriff, Noam. Invention for Harp (1968). TeleAviv: Israel Music Institute, 1969. Siegmeister, Elie. American Harp, suite for solo harp (1966). Bryn Mawr: Theodore Presser Co., 1971. Srebotngzk, Alojz. Five Preludes. New York: G. Schirmer, 19 . a Tal, Josef. Intrada, for harp. Tel-Aviv: Israeli Music Publications, Ltd., 1959. u ------- . Structure (Mivnim) for Harp Solo. Tel-Aviv: Israel Music Institute, 1962. Tomasi, Henri. 'Invocation et Danse. Paris: Alphonse Leduc et Cie, 1969. Weber, Alain. Chant de Biwa, estampe pour harpe. Paris: Alphonse Leduc et Cie, 1971. Yamanouchi, Tadasi. Pour Harpe (1965). Tokyo: Inter- national Music Publishers Co., Ltd., 1965. APPENDIX C SELECTED LIST OF CHAMBER WORKS WITH HARP FROM THE MID-20TH CENTURY TO THE PRESENT Badings, Henk. Cavatina, for alto flute in G (or violin) and harp. C.F. Peters Corp. Amsterdam: Konemus Foundation, 1952. ------- . Ballade, for flute and harp. Amsterdam: Donemus Foundation, 1950. Berio, Luciano. Circles, for female voice, harp and two pegcussion ensembles. .London: Universal-Edition, 19 1. Boulez, Pierre. Improvisation sur‘Mallarmé: "1e Vierge, 1e vivace et le bel aujourd'hui . . .", for soprano, vib- raphone, percussion and harp. London: Universal- Edition, 1958. . ------- . Improvisation sur'Mallarmé: "Une Dentelle S' Abolit," for soprano, harge, jeu de cloches-tubes, vib- raphone, piano, celeste, percussionists. London: Universal-Edition, Ltd., 1958. de Braal, Andries. L'illumination de Queekhoven 1968 (harp and trumpet). Amsterdam: Donemus, 1969. New York: _C.F. Peters Corporation. Capanna, Robert. Piece for Flute and Harp (1980). Un- published. Chou Wen-chung. Suite for Harp and Wind Quintet (1950). New York: C.F. Peters Corp., 1962. ------- . Three Folk Songs for Harp and Flute. New York: C.F. Peters Corp., 1950. Crumb, George. Ancient Voices of Children (1970), for soprano, boy soprano, oboe, mandolin, harp, electric piano and percussion. New York: C.F. Peters Corp., 1970. 96 97 - ------ . Madrigals, Book III, for soprano, harp and per- cussion. New York: Mills Music Inc., c/o Belwin- Mills Publishing Corp., 1969. ------- . Madrigals, Book IV, for soprano, flute/alto flute/ piccolo, harp, double-bass and percussionist. New York: Mills Music Inc., c/o BelwinéMills Publishing Corp., 1969. Dohnanyi, Ernb. Concertino for harp, string quartet, bass, flute, oboe, clarinet, bassoon, horn and tympani (1950). New York: Lyra Music Company, 1980. Eakin, Charles. Improvization for Harp and Pizzicato Piano. Unpublished (University of Colorado, 1974). Eben, Pzgr. Ordo Modalis for oboe and harp (1964). Prague, 19 . Felciano, Richard. Background.Music, a theatre piece for Harp and Electronics (Sympathetic Piano, Stereophonic Tape, FM Tuner and Transister Radio). Boston: E.C. Schirmer Music Co., 1974. Flothuis, Marius. Pour 1e Tombeau d'Orphée, danse élégiaque pour harpe seule, Op. 37. Amsterdam: Donemus, 1950. Holliger, Heinz. Mobile, ffir Oboe und Harfe. Mainz: B. Schott's Sbhne, 1962. ------- . Trio for oboe, viola and harp. Mainz: B. Schott‘s Sbhne, 1966. Jolivet, Andre. Alla Rustica, for flute and harp. London: Boosey & Hawkes Music Publishers Ltd., 1963. Kardos, Iztvan. Poem and Humoresque for violin, viola and hagp. Boston: General Music Publishing Co., Inc., 19 9. Ma'ayani, Ami. Improvisation Variée, trio for harp, viola and flute. New York: Lyra Music Co., 1969. Natra, Sergiu. Music for Violin and.Harp. Tel-Aviv: Israel Music Institute, 1960. Persichetti, Vincent. Serenade No. 10, 0p. 79, for flute and harp. Bryn Mawr: Elkan-Vogel, Inc., 1961. Rands, Bernard. Action for 6, for flute, viola, violon- cello, harp and 2 percussionists (1962-63). London: Universal—Edition, 1965. ' 98 - ------ . Formants II, "Labyrinthe," for harp (playing Formants I solo piece), clarinet, trombone, viola, violoncello, piano, celesta and 2 percussionists. London: Universal-Edition, 1966, revised 1969. Rorem, Ned. Book of Hours, for flute and harp (1975). New York: Boosey & Hawkes, Inc., 1978. Saylor, Bruce. St. Ulmos Fire, for flute and harp (1978). Unpublished. Schafer, R. Murray. The Crown of Ariadne, for harp and percussion (all played by harpist). Bancroft, Ontario: Arcana Editions, 1980. ------- . Requiems for the Party Girl, for soprano and 9 instruments. Toronto: BMI Canada, Ltd., 1966. ------- . Sappho, for mezzo soprano, harp, guitar, piano and percussion (1967-69). Unpublished. Smit, Leo. In Woods, for oboe, harp and percussion (1978). Unpublished. Srebotnjak, Alojz. Fantasia Notturna, for 3 violins, Bb clarinet and harp. Unpublished. Stravinsky, Igor. Four Songs, for soprano, flute, harp and guitar. London: J. & W. Chester, Ltd., 1955. Takemitsu, Toru. Stanza II, for harp and tape. New York: Editions Salabert'Music Publishers, 1972. Ta1, Josef. Qinah Lament, for violoncello and harp. Tel- Aviv: Israeli Music Publications, Ltd., 1950. Urata, Kenjiro. Metaplasm IV, for Oboe and Harp. Tokyo: AcademiafiMusic, Ltd., 1973. Wuorinen, Charles. Bassoon Variations, for bassoon, harp and tympani. New York: C.F. Peters Corp., 1972. ------- . Harp Variations, for harp, violin, viola and violoncello. New York: C.F. Peters Corp., 1976. Zaimont, Judith Lang. Two Songs for Soprano and Harp (1980). Unpublished. APPENDIX D REDUCED SCORES OF WORKS ANALYZED IN THIS STUDY 99 3 For Sonya FANTASY for Solo Harp . to Gunther Schuller sounds Molto moderato (J=5+) —b —-—b___ E. n!———————A~ L acul. i atmpo (£54) i . 5: é Ci 08\ ij’ Squaw 1969 by Associated Music Publish“. Inc.,New York © All Rights Med 100 211:: . who a tan 0 fit. 13 p a tempo an H ff 2 P "If—4 (Ir) "1 ' b m L96 pa} ril. lifl- Lv. p = PIP? b_ . M V (no £760. A: G‘ 5! ch: 84 inf i Wfiuirngularruns with“: < AT E :2 A; g £322 (IE :33: 2) Tempo 1° (J=54) 21M 102 fi a pace rit. fifi J=50 new!” “fl (pace rubato) G! a cum» I" E DI————| c! cl 3. c; ate! 0%: [1060 ritenuto pit} mono (J=60) n't. 3b—————§ ch 103 E E Allegro vivace (Jun-88) é rit. —Fb GI 0| at oh .0 Fl cl Al F. all Al» 11 at D. ch——— 1' DI 3! 08—h Gh—t— 104 SE paco (a tempo) f :tacc. > up Ft E19. .' Vl- Al» at c! 105 DI Ell Eb cl» A! Di CI (Lam—<fl' + = £1: ab An 1’ ”rv a; CH {EH 106 V DI: ’1‘" {air} mom (1’: 80) A A P 107 Allegro (J: 84-88) E a tmpo Pl! A8 I 68 % rit. molta Lento (5:72) Allegro (5:132) =1?" 1’ f Eh Ah PH Ch 6: at 13‘ c8 DH F3 108 NOTE As indicated in the first measure, the tuning of the two strings G and B is to be maintained throughout the piece; the octave: 0/ these strings are not to be so tuned. The adoption of this tuning procedure is essential, many of the harmonics and pitches in the work being impossible to perform otherwise. The performer is to play the pitches notated in the staff; the smaller cue notes, placed above the staff, indicate the actual resultant pitch. All harmonics are written as played; their sound, therefore, is an octave higher. On occasion, pedals (normally operated with the right foot) need to be oper- ated with the left foot. Where this occurs, the pedal marking appears in a box —for example I. The following indications and symbols are used: film to be played very near the sounding board. M to be played low on the strings, but not as close to the sounding board as film. A to be played with the fingernails. A to be played with the fingernails near the sounding board. 21% l.v. means “laissez vibrer”, let vibrate or let ring. .$. means to damp all strings. $ means to damp only the string or strings indicated. $ 9 means to damp all strings lying between and including the two indicated. é, means to damp the strings indicated by the arrow. 0rd . means to cancel any previous method of playing. G. S. 109 TOCCATA nnpm FOR HARP In“) AMI MA'AYANI Win 11111 LENTO (J = 44) fill—II sub. 1’ pesanle Ch / P 5 ©1961 by I. M. I. Isresl Music Indium, P. 0. B. 11253. Tel-Avis, Inset F4 "4 sdlflonrev. ”196911,: 1.14:. 1. Israel Music Imam, 1;. o a. 11253, TdAm'v, IssIeL ‘ Db Gil—b All Rights Reserved International Copyright Secured Dun: 6' ca. 110 *) ALLEGRO (I'. 120) c‘b ‘ 1 4‘2. smile NI ex .. .. *) aussi’ vite que possible 111 112 Efip Al: at. once. ER sub. I)? Gb C” GU _— sub.” mac. Bs——:— —: 5 " rit_- '1— — - - tempo primo (out?) A; > ii cross. ds--cr¢~-:cal- - -do fl“ (am 1’) 114 ALLEGRO (J’= 132 ) .29“ at! tempo primo At 115 Ah 07686. rit. _ - - animate th6——A L——-6# 116 flpesame accelerando 117 tempo prhno accel. 10 LENTO 118 1 pih mosso 1 1” Pu on tempo primo pih mosso A tempo prime 119 12 A @fl A /'\ A .. ‘; lle.le I. ..l :“I‘e W. ‘ ... .1, A Q .1 - ..1 -- .11.. ..I n- .. 1 . I - m.- .ll 1...... l R}! .T .2 : oz: ... 511 I 1‘ fl Q. 1%1 .1lll l a.“ I .I 1 a m I: lull... v .1 e I. QM W ...-E” w\% DrwhrM 1 w“ :e 13.1:i::r3.....-.W T; 11.1.92.11:21:12: Mum. .‘v > F s > > y > p» pihvl i‘V .llW. H 127;; 21.-H‘s I All], . . .Il.Im_.lHl.l.11‘ 11.1.11 IIHll1i l 1111““11HV 11H11l1HW II I .lnl.i1l.l \‘ 1ll l ual-ll l w. - Ks s. - 1.--111... 1 - 1s 1.- .‘M‘l .. .pw wt? HHHHHIIH. .l ...111l1‘m 1&1". -..1 “so... lllliq 1 llHlHJ-H..l...!lll.lrw1.lll wallll l..H..Im..l.. H O I a. kw“ .ll-o. 120 m:UZ<~..—. ie Heugel & C tous pays. Avec 1'autorisation des Editions Editeurs-Propriétaires pour 121 II, m :‘l < :: _g u 5 U i Sill}! : f i :sglu ” I- l 1‘ l 'l' I! :2 2:! 5 1111 :1 g1 12 :1 .' I I :3 lléélll % 1%; I. 5151 igmli } ill: all} #11132. 2 'i I ll 11* 2:3: I!" 1,113,, f 215111.19 u, 3.11%: r- l i; I n . 9' g ‘ 21311113 $51 I{ll 511le 11111! 11111 ! -.‘ J l “N ' u bx: -~ 122 Four Harpe I. La muse jouant la cithara c‘z H’elicon Lent J‘-96~1os “1 "9 555 {NE Lat Salt) ‘J 1126: 'BV' (321) ‘ ' ' 'IW' (La!) copyright 0 I” Tdui Yam-chi unit-d to International mic publisher: 123 ‘ (Ra: (Soil) (50“ U) 00 RH Rit.-.---- -- -- -- - -. a tempo (Re!) 121+ (Pal) 125 =—- Soil Fab p (Dos ) If cresc. poco a pace > ,— 50“ F8.) (Ll. Mi.) DO. 5“ Bit ..... - - Harm. 1”) I (Sol F? ) DO“ Re' (Rél— I) (Rel) Piu mosso Rit ......... / 5 (Si! R20 132: F3‘) a tempo 11:: 5°") copyright O [”5 Tadnu' Yamanouchi nun. Ion-rd- que“, Inn n. all "aimed to [Men-haul nun publiehera 128 ModéréJI-ea~n cresc. poco a (Dossw) s°"—" ‘ - - - - ' ‘ (no. ... 3 ——. I) (DosSoII FacMib) J’-80~88 '9 (Fat Réc) (Mil Pal) Rit ......... a tonne ( Fa! Soil) (Rel) (Mi-4 -.l) Sil Dol Rib Piumouo Rit- -.. ...... ? (Mil) (Sin) 129 Sans hiteJ-84~68 .9 (Mil F8) 51! (La! Rel) (Rél) (La! Rél) (La!) (Rél) CLaI Ra) (Dob) - a tempo (Soll Fab Sib) 130 III. Bahram Gur chassant avec Azad’e m m :3; 112m mg. 0 > VII 1.. 112~1ao —'= > "b IV (La! Solb Fa! Mi’) D00 Sil copyright 0 19a Todui Yamanouchi assigned to International Inuit publish": 131 (1.2") Mene mossoJ-72~80 (Fat 501' Do! Ré’ ) (Sil) 132 "9' (Si' Do’ Rel Fa') accel ..... a tempo subpp is f. . (5on my (5.: Doll) >Ilf c'touffe' (Mi. 501‘ Si*) Do“ Re‘ 133 itouffe' (ch Sol» Mil) Rel Don 134 Rit ..... . Meno mossJ-72~80 ( Fa! Lal MibSil Réi) (Solb) (Mi. Do.) (L38 Rél) 135 Soil Mil Sit N BIBLIOGRAPHY BIBLIOGRAPHY Books Agricola. Martin. Musica Instrumentalis Deudsch. Erste und vierte Ausgabe. Wittemberg 1528 und 1545. Leipzig: Breitkopf & Hartel. 1896. Anderson, Otto. The Bowed-Harp, a study in the History of Early Musical Instruments. Edited by Kathleen Schlesinger. London: William Reeves Bookseller. Ltd., 1930. Armstrong, Robert Bruce. The Irish and Highland Harps. Introduction by Seoirse Bodley. New York: Praeger Publishers, 1970. (First edition in 1904: Edinburgh.) Berlioz, Hector. Treatise on Instrumentation. Enlarged and revised by Richard Strauss. including Berlioz's essay 0n conducting. Translated by Theodore Front. New York: E.F. Kalmus, l9#8. (First published in French in 18h3.) Bermuda, Juan. Declaracion de Instrumentos Musicales. Granada, 1555. (Reprint, 1957.) Bessaraboff, Nicholas. Ancient European Musical Instru- ments. Cambridge, Massachusetts: Harvard University Press. l9#l. Brindle, Reginald Smith. The New Music, the Avant-Garde since 1945. London: Oxford University Press. 1975. Burney, Charles. A General History of Music from the Earliest Ages to the Present Period (1789). Vols. I and II. Critical and historical notes by Frank Mercer. New York: Harcourt. Brace & Co., 1935. Carse, Adam. The History of Orchestration. New York: EoPo DUtton & 000. 1925. De Lone, Richard. et al. Aspects of Twentieth-Century . Music. Englewood Cliffs, New Jersey: Prentice- Hall. Inc., 1975. 136 137 Engel, Carl. A Descriptive Catalogue of the Musical Instruments in the Kensington Museum. 2nd ed. Preceded by an Essay on the History of Musical Instruments. London, 187# (Revised ed., 1908). New York: Benjamin Blom, Inc., 1971. ------- . The Music of the Most Ancient Nations, partic- ularly of the Assyrians, Egygtians, and Hebrews. London: William Reeves, 186 . ------- . Musical Instruments. Revised ed. London: Wyman and Sons, Ltd., 1908. ------- . Musical Myths and Facts. Vols. I and II. Boston: Longwood Press, Inc., 1977. (Re-publication of 1876 edition. London: Novello, Ewer.) Eschman, Karl. Changing Forms in Modern Music. Boston: E.C. Schirmer Music Co., 1945. Faral, Edmond. Les Jongleurs en France au Moyen Age. 2. 6d. Paris: H. Champion, 19611. Fink, Robert and Ricci, Robert. The Language of Twentieth Century Music, A Dictionary of Terms. New York: Macmillan Publishing Co., Inc., 1975. Flood, William Henry Grattan. The Story of the Harp. . Boston: Longwood Press. 1977. Reprint of 1905 edition. Forsyth. Cecil. Orchestration. 2nd ed. New York: The Macmillan Co., 1942. . Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973. Galilei, Vincenzo. Dialogo della musica antica e moderna. Venice, 1581. Galpin, Francis w. A Textbook of European Musical Instruments, their origin, history, and character. New York: John de Graff, Inc., 1937. ------- . The Music of the Sumerians and their immediate successors the Babylonians and Assyrians. Librairie Heitz: Strasbourg University Press, 1955. (First ed., 1936, Cambridge University Press.) ------- . 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Lawrence, Lucile and Salzedo, Carlos. The Art of’Modu- lating, for Harpists, Pianists, Organists. New York: G. Schirmer, Inc., 1950. (This work includes illustrations of harp glissandos, cadenzas and arpeggios in modulation.) ------- . Method for the harp. New York: G. Schirmer, Inc., 1929. (This work includes 15 Preludes by Carlos Salzedo, illustrating his use and notation of special harp effects.) The Lyon & Healy Harp. Facsimile of 1899 Harp Book. Reprinted in 1979. Chicago: Lyon & Healy Harps, Inc., 1979. Marcuse, Sibyl. Musical Instruments: A Comprehensive EggZionary. Garden City, L.I.: Doubleday & Co., Marson, John. The Complete Guide to the Harp Glissandi, Including a Comprehensive Table of A11 Possible Pedal Changes. New York: Lyra.Music Co., 1966. 139 Mersenne, Marin. Harmonie Universelle: The Books on Instruments. Translated by Roger E. Chapman. The Hggue; M. Nijhoff, 1957. (First edition, Paris, 1 35. Montagu, Jeremy. The World of Baroque and Classical Musical Instruments. Woodstock, New York: The Overlook Press, 1979. ------- . The World of Medieval and Renaissance Musical Instruments. Woodstock, New York: The Overlook Press, 1976. O'Sullivan, Donal. Carolan, the Life, Times and Music of an Irish Harper. Vols. I and II. Part I: The Life and Times. Part II: The Music. London: Routledge and Kegan Paul Limited, 1958. Panum, Hortense. The Stringed Instruments of the Middle Ages. English translation revised and edited by Jeffrey Pulver. London: William Reeves, 1939. (Reprint, New York: Da Capo Press, 1971.) Parry, John. The Welsh Harper, being an extensive collec- tion of Welsh Music...also an account of the rise and progress of the Harp. London: D'Almaine & Co., 1839. Praetorius, Michael. Synt a MuSicum. II. Teil. Von den Instrumenten. Wolfenb ttel, 1618. Neuer Abdruck, 188u (Umdruck 1894). 1} Band der Publikation. Leipzig: Breitkopf & Hartel. Prout, Ebenezer. The Orchestra. Vol. I: Technique of the Instruments. London: Augener Ltd., 1897. Read, Gardner. Contemporary Instrumental Techniques. New York: Schirmer Books, A Division of’Macmillan Publishing Co., Inc., 1976. ------- . Thesaurus of Orchestral Devices. New York: Pitman Publishing Corp., 1953. Westport: Greenwood Press, Inc., 1969. Rensch, Roslyn. The Harp, from Tara's Halls to the Ameri- can Schools. New York: Philosophical Library, 1950. ------- . The Harp, Its History, Technique and Repertoire. New York: Praeger Publishers, 1969. 1&0 Rimsky-Korsakow, Nicolas. Principles of Orchestration, with musical examples drawn from his own works. Edited by Maximilian Steinberg. by Edward Agate. New York: English translation Scores, Inc., 1933? E.F. Kalmus Orchestra de Robeck, Nesta. Music of the Italian Renaissance. London: The Medici Society, 1928. Sachs, Curt. The History of Musical Instruments. New York: W.W. Norton & Co., Inc., 19#O. Salzedo, Carlos. Modern Study of the Harp. New York: G. Schirmer, Inc., 1921. (Ex lanation and illustra- tion of special harp effects. Serle, Humphrey. Twentieth Century Counterpoint, a Guide for Students. London: Ernest Benn, Ltd., 1954. Sendrey, Alfred and Norton, Mildred. David's Harp, the Story of Music in Biblical Times. New York: The New American Library, 196#. Stainer, John. The Music of the Bible. London: Novello & Co., Ltd., 191#. Stevens, John. Music and Poetry in the English Tudor Court. London: Methuen & Co., Ltd., 1961. Thomas, John. History of the Harp, From the Earliest Period down to the Present Day. London: William Reeves Bookseller, Ltd., ca. 1910. Tournier, Marcel. The Harp. Preface by Marcel Dupré. Part I: A History of the Harp Throughout the World. Part II: Harp Notation. Paris: Henry Lemoine & Cie, Editeurs, 1959. English translation by Rita H. Pitt. London: United Music Pub. Vinton, John, (ed.). Dictionary of Contemporary Music. New York: E.P. Dutton & Co., Inc., 1974. Virdung, Sebastian. Musica Getutscht. [der Ausg. von] 1511. Faksimile-Nachdruck Niembller. Kassel: Hrsg. von Klaus Wolfgang Barenreiter, 1970. Wilkinson, Sir J. Gardner. Manners and Customs of the Ancient Egyptians. Edited, revised and corrected by Samuel Buch. Vol. I (of 3 vols.). Boston: S.E. Cassino & Co., 1883. 141 Winternitz, Emanuel. Musical Instruments and Their Sygbolism in Western Art. New York: W.W. Norton, l9 7. ------- . Musical Instruments of the Western World. Photographs by Lilly Stunzi. New York: McGraw-Hill Book Company. London: Thames & Hudson, 1967. Periodicals and Encyclopedias Bagnall, Anne (ed.). "A Bibliography of the European Harp to 1600, Compiled by Dagmar Groeneveld," Cur— rent Musicology, No. 16 (1973), pp. 92-102. ‘ Barnett, Margaret. "To Sing to the Harp," Opera News, Vol. 37, No. 24 (April 21, 1973), pp. 8-11. Bowles, Edmund A. "Haut and Bas: The Grouping of’Musical Instruments in the Middle A es," Musica Disciplina, Vol. VIII (1954), pp. 115-1 0. ------- . "Instruments at the Court of Burgundy (1363- 1467),“ The Galpin Society Journal, No. VI (July, 1953): PP- “1'51. ------- . "Musical Instruments in Civic Processions during the Middle Ages," Acta Musicologica, Vol. 33 (1961 pp. 147-161. ------- . "The Role of'Musical Instruments in Medieval Sacrgd gfiama," The Musical Quarterly, 45 (1959), PP- 7- - ------- . "Were Musical Instruments used in the Liturgi- cal Service during the Middle Ages?," The Galpin Society Journal, No. X (May, 1957), pp. 40-56. Brakeley, Theresa C. "Harp," in Standard Dictionary of Folklore, Mythology, and Legend. Edited b Maria Leach. New York: Funk & Wagnalls Co., 19 9. (Vol. I, pp. 480-482.) Denis, Valentin. "Musical Instruments in Fifteenth-Cen- tury Netherlands and Italian Art,” The Galpin Society Journal, No. II (March, 1949), pp. 32-46. Egan, Chas, Esq. "0n the Antiquity and Primitive Form of our National Instrument, the Harp," British Archaeo— logical Association Journal, Vol. 6 (1851), pp. 103- 11 . 142 Fleury, L. "Flute and Harp," in Cobbett's Cyclopedic Sur- vey of Chamber Music. Milford. London: Oxford University Press, 1929. (Vol. I, pp. 404-405.) Fortune, Nigel. "Continuo Instruments in Italian Monodies," The Galpin Society Journal, No. VI (July, 1953), pp. 10-13. Freund, Karl. "From Harp to Harpsichord," International Studio, Vol. LXXV (August, 1922), pp. 373-393. Galpin, F.W. "The Sumerian Harp of Ur, c. 3500 B.C.," Music and Letters, Vol. X, No. 2 (1929), pp. 108-123. Griffiths, Ann and Rimmer, Joan. "Harp,“ in The New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie. Washington, D.C., 1980. (Vol. 8, pp. 190-210.) Kastner, A. "The Harp as a Solo Instrument and in the Orchestra," Royal Musical Association Proceedings. 35th Session (1908-09), pp. 1-14. Korchinska, M.C. and Kony, C. "The Harp," in Cobbett's Cyclopedic Survey of Chamber Music. Compiled and edited by Walter Willson Cobbett. London: Oxford University Press, 1929. (Vol. I, pp. 509-511.) Marson, John. "Harp," Musical Times (August, 1966), p. 710. Martens, Frederick H. "The Musical Observations of a Moroccan Ambassador (1690-1691)," Musical Quarterly, Vol. XV (1929). pp. 575-578. - . McKinnon, James, "The Meaning of the Patristic Polemic against Musical Instruments,” Current Musicology, ------- . "Musical Instruments in Medieval Psalm Commen- taries and Psalters,“ Journal of the American Musicological Society, Vol. 21 (1968), pp. 3-20. Music, David. "The Harp as a Continuo Instrument in the Baroque Period," American Harp Journal, Vol. 7, No. Rimmer, Joan. "Harps in the Baroque Era," Proceedings of The Royal Musical Association, 90th Session (1964), PP- 59-75- ------- . ”James Talbot's Manuscript (Christ Church Library Music MS 1187) VI. Harps," The Galpin Society Journal, No. XVI (May, 1963), pp. 63-72. 143 - ------ . "The Morphology of the Irish Harp," The Galpin Society Journal, No. XVII (February, 1964), pp. 39- 49. ------- . "The Morphology of the Triple Harp," The Galpin Society Journal, Vol. XVIII (March, 1965), pp. 90- 103. "Salzedo, Carlos," Harp News, Vol. III, No. 4 (Fall, 1961). Memorial edition, pp. 2-13. (Includes a list of original works by Carlos Salzedo.) Schlesinger, Kathleen. "The Harp," in Encyclopedia Britan- nica. Eleventh edition. London, 1911. (Vol. XIII, pp. 11-14.) ------- . "The Utrecht Psalter and its Bearing on the History of Musical Instruments," Musical Antiquary. Vol. II (October, 1910), pp. 18-33. Szarvas, Klari. "The Legacy of King David," The American Harp Journal. Part I in Vol. 6, No. 1 (Summer, 19 7), pp. 11-20. Part II in Vol. 6, No. 2 (Winter, 1977 , PP- 3-13- Vernillat, France. "Harp Literature in France in the 18th Century," from: "Recherches sur la Musique francaise classique," IX, 1969. Translated from the French by Harold Bryson. Reprinted from Editions A. & J., Paris. The gmerican Harp Journal, Vol. 4, No. 3 (Spring, 1974), pp. -21. Zabaleta, N. "The Harp in Spain from the 16th Century to the 18th Century," Harp News, Vol. I, No. 8 (1953), PP. 2-9- (This article includes a list of 16th- to 18th-century Spanish publications that include harp music or references to the harp.) Zingle, Hans J. "The Development of the European Harp," translated by Ursula Stechow, Harp News, Vol. II, No. 8 (Fall, 1958), pp. 2-7. 144 Theses and Dissertations McKinnon, James William. "The Church Fathers and Musical Instruments." Ph.D. Dissertation. Columbia Univer- sity, 1965. (Microfilm.) Neill, Lou Anne. "The Harp in Contemporary Chamber and Solo Music." Unpublished master's thesis. Univer- sity of California, Los Angeles. 1971. Music Jolas, Betsy. Tranche, pour harpe seule (1967). Paris: Heugel & Cie., c1968. Ma'ayani, Ami. Toccata for Harp (1961). Tel-Aviv: Israel Music Institute (I.M.I.), c1962 and c1969. Schuller, Gunther. Fantasy for Solo Harp. New York: Associated Music Publishers, Inc., c1969. Yamanouchi, Tadasi. Pour Harpe (1965). Tokyo: Inter- national Music Publishers Co., Ltd., c1965 by Tadasi Yamanouchi, assigned to International Music Publishers. Recordings Jolas, Betsy. Tranche. Marcella DeCray, harpist. HARP AUJOURD'HUI. Coronet Recording Co., No. 2745. Ma'ayani, Ami. Toccata. Susann.McDona1d, harpist. 20TH CENTURY HARP. Klavier Records, No. KS-507. Schuller, Gunther. Fantasy for Solo-Harp. Catherine Gotthoffer, harpist. American Harp Society Tape Recording Library, No. 14-B. 145 Music and Record Catalogs ASCAP Symphonic Catalog. Third edition. New York: R.R. Bowker Company, 1977. - BMI Symphonic Catalogue. New York: Broadcast Music, Inc., 1971. ------- . Supplement Number One. New York: Broadcast Music Inc., 1978. Broude, Alexander, Inc. Rental Catalog. New York: Alexander Broude, Inc., 1978. Edition Peters 1976 Catalogue. New York: C.F. Peters Corporation, 1976. Harp Publications Music Catalogue. Walnut Creek, California: Harp Publications, 1980. International Music Service Catalog of Music for the Harp. New York: International Music Service, 1981. Leduc, Alphonse. Harpe. Paris: Alphonse Leduc-Editions Musicales, 1979. Theodore Presser, representative, U.S.A. Lyon & Healy's 1980 Harp Music Catalog. Chicago: Lyon & Healy Harps, Inc., 1980. Lyon & Healy's 1980 Harp Record Catalog. Chicago: Lyon & Healy Harps, Inc., 1980. Lyra Puglications. New York: International Music Service, 19 1. Presser, Theodore. Harp Music Catalog. Bryn.Mawr, Penn- sylvania: Theodore Presser Company, Elkan-Vogel, Inc., and their affiliated agencies, 1978. Salvi International Mail Order Catalogue. Santa Monica, California: International Harp Corporation, 1979. Schirmer, G. Associated.Music Publishers Rental and Performance Guide. New York: G. Schirmer and Associated Music Publishers.