8/2/2019 Ruth Crawford Paper

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Kevin FisherMay 7, 2012

Music Theory - Urquhart20th c. Experimental Approaches Short Paper

According to Professor Ellie Hisama from Columbia University, Ruth

Crawford’s String Quartet 1931 is “one of the finest modernist works of the genre".

This piece contains four movements, but for the purpose of this assignment, we will

focus primarily on the third movement, which was eventually rearranged as the

Andante for Strings . The instrumentation for the third movement is based off the idea

of “sound mass”, which means the primary purpose of the piece is no longer based

around the actual notes or pitches. Instead, the texture, dynamics, colors, timbre,

shapes, and gestures are what the composer is attempting to animate and enliven.

The melodic line of the third movement jumps between each of the voices through

the subtle crescendos and diminuendos throughout the entire piece. The instruments

are all equal as no one instrument sticks out more another at any given point. The

melodic line is not present in any one voice either. Our attentions shifts between all

the voices until the “break” at measure 75, where the ensemble plays triple-stops in

unison. From the beginning until this point, the registers are so cramped and there is

constant voice exchanging/crossing. At points, the second violin plays higher than

the first violin. The dissonant counterpoint happens while these lines occur between

voices with a gradual build of tension until measure 75. These sounds may have

extrinsic connections to events or situations that Crawford has experienced in her

life. There is not one exposed theme that sings a melodic passage of emotion, but

instead, a cluster of many different sensations at once. The climax of the piece

comes at measure 75 with the string triple-stops. This is the presentation of all of the

inverted and separated textures coming together as one. The break in the piece

8/2/2019 Ruth Crawford Paper

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represents the coming-together of Crawford’s belief in dissonant rhythms and

harmonies. Everything in the piece is based on timing. The internal crescendos

within each measure is supposed to come at a certain time that is directly connected

with the diminuendo that follows in the same instrument or even a different

instrument. The high points of one line always contrast with the low points of another

line. Perhaps this is an allusion to something historical outside of the score.

Eventually, each individual instrument plays at a higher pitch than every other

instrument, as if each instrument were racing up a ladder against every other voice.

Each voice reaches its highest register and dynamic at the climax at measure 75,

which is known as the “break”. The range is huge at the break where they

completely split apart. The similar pattern that accelerates until measure 88

reinstates the unknown themes and meanings that are only understood by the

composer. These dynamic gestures with certain timbres replace the melodic lines

that we are so used to. The overall shape of the piece must be understood in

reference to something quite close to the composer – this could be something

historically important, or even an emotion or sensation the composer comprehends

much better than any music theorist or analyst.