Serial Composition by Reginald SmithReview by: Walter B. RossNotes, Second Series, Vol. 24, No. 2 (Dec., 1967), pp. 272-273Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894670 .

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broad musical community, is the failure to identify several of the abbreviated ref- erences.

Numerous musical examples illustrate the text, and excerpts for analysis are distributed throughout the workbook. The proofreader missed a few errors and omissions in musical examples: on page 39, Example lla, a modern treble clef is printed in place of the old violin cef referred to in the text; on page 177, example 71c, the eighth-note beaming in the diminution of the theme has been omitted; on page 198, the texts referred to in the final paragraph do not appear in the example on page 199; and on page 14 of the workbook, the fermata that would indicate the end of the second part of the canon is missing.

Throughout the book there is much re- statement and summary of information, some of which is due to the chronological organization of each chapter, and some to a pedagogical inclination toward repe- tition. Continuous review is provided,

broad musical community, is the failure to identify several of the abbreviated ref- erences.

Numerous musical examples illustrate the text, and excerpts for analysis are distributed throughout the workbook. The proofreader missed a few errors and omissions in musical examples: on page 39, Example lla, a modern treble clef is printed in place of the old violin cef referred to in the text; on page 177, example 71c, the eighth-note beaming in the diminution of the theme has been omitted; on page 198, the texts referred to in the final paragraph do not appear in the example on page 199; and on page 14 of the workbook, the fermata that would indicate the end of the second part of the canon is missing.

Throughout the book there is much re- statement and summary of information, some of which is due to the chronological organization of each chapter, and some to a pedagogical inclination toward repe- tition. Continuous review is provided,

even as the student progresses to more sophisticated techniques. Both teachers and historians will be grateful for Hors- ley's zeal for emphasis and clarity; her material is extremely well organized with- in a flexible format. Her musical analyses are numerous and thorough, are well placed within the text, and offer insights into the style of the historical period and the compositional procedure. Her peda- gogical instructions are easy to follow and are logical in progression, and her general comments about musical style are perceptive and amply documented.

Far too many courses in music theory do not delve into the historical implica- tions of the skills they seek to impart. Dr. Horsley offers us an alternative that is practical, intelligent, and musically significant. Fugue: History and Practice can well serve as a model for future studies of this kind.

BARBARA P. GORDON New York University

even as the student progresses to more sophisticated techniques. Both teachers and historians will be grateful for Hors- ley's zeal for emphasis and clarity; her material is extremely well organized with- in a flexible format. Her musical analyses are numerous and thorough, are well placed within the text, and offer insights into the style of the historical period and the compositional procedure. Her peda- gogical instructions are easy to follow and are logical in progression, and her general comments about musical style are perceptive and amply documented.

Far too many courses in music theory do not delve into the historical implica- tions of the skills they seek to impart. Dr. Horsley offers us an alternative that is practical, intelligent, and musically significant. Fugue: History and Practice can well serve as a model for future studies of this kind.

BARBARA P. GORDON New York University

Serial Composition. By Reginald Smith Brindle. London and New York: Oxford University Press, 1966. [210 p.; paper, $6.00] Serial Composition. By Reginald Smith Brindle. London and New York: Oxford University Press, 1966. [210 p.; paper, $6.00]

In reviewing a recording of Gordon Binkerd's first and second symphonies in Perspectives of New Music (Fall-Winter 1964), David Cohen coins the term "radi- cal center" to refer to music that is sty- listically between expanded tonality and total serialization-between conservative and avant garde. Serial Composition by Reginald Smith Brindle is written from the point of view of this "radical center," since it addresses itself to the compo- sition student whose interest is in mak- ing music using serial methods rather than in merely assigning notes to pre- compositional formulas.

The first five chapters are concerned with the construction of series and with melodic writing. It is suggested that the student "give form to his melody by fol- lowing an over-all design, carefully laid out to express a preconceived emotional plan." The author uses several examples from recent music in describing elements that contribute to tension or relaxation in melody. Chapters VI-IX deal with writing in more than one part and with twelve-note harmony. Forms, vocal writ-

In reviewing a recording of Gordon Binkerd's first and second symphonies in Perspectives of New Music (Fall-Winter 1964), David Cohen coins the term "radi- cal center" to refer to music that is sty- listically between expanded tonality and total serialization-between conservative and avant garde. Serial Composition by Reginald Smith Brindle is written from the point of view of this "radical center," since it addresses itself to the compo- sition student whose interest is in mak- ing music using serial methods rather than in merely assigning notes to pre- compositional formulas.

The first five chapters are concerned with the construction of series and with melodic writing. It is suggested that the student "give form to his melody by fol- lowing an over-all design, carefully laid out to express a preconceived emotional plan." The author uses several examples from recent music in describing elements that contribute to tension or relaxation in melody. Chapters VI-IX deal with writing in more than one part and with twelve-note harmony. Forms, vocal writ-

ing, and orchestration are taken up next with the warning: "The main trap into which it is so easy to fall is that of writ- ing short-breathed musical phrases which surge frenetically over a large emotional span in a brief period of time. All pos- sibility of continuity of emotion is there- fore eliminated, the listener is quickly disoriented and his attention wanes. Fur- thermore, as the music runs the whole emotional gamut in a brief spell, extended movements cannot be successfully written." The very interesting chapter on styles in serial music includes a discussion of the use of serial techniques in imitation of "Baroque" through "jazz" styles. Chap- ter XIV, "Permutations and Other Vari- ants of a Series," and Chapter XV, "The Avant Garde, Integral Serialism and Im- provisation," and concerned with more recent developments. The final chapter, which is the focal point of the book, deals with the problems of free atonalism and free twelve-note composition.

Throughout the book Brindle advises the student to write in a manner which will "produce a satisfactory musical ef-

ing, and orchestration are taken up next with the warning: "The main trap into which it is so easy to fall is that of writ- ing short-breathed musical phrases which surge frenetically over a large emotional span in a brief period of time. All pos- sibility of continuity of emotion is there- fore eliminated, the listener is quickly disoriented and his attention wanes. Fur- thermore, as the music runs the whole emotional gamut in a brief spell, extended movements cannot be successfully written." The very interesting chapter on styles in serial music includes a discussion of the use of serial techniques in imitation of "Baroque" through "jazz" styles. Chap- ter XIV, "Permutations and Other Vari- ants of a Series," and Chapter XV, "The Avant Garde, Integral Serialism and Im- provisation," and concerned with more recent developments. The final chapter, which is the focal point of the book, deals with the problems of free atonalism and free twelve-note composition.

Throughout the book Brindle advises the student to write in a manner which will "produce a satisfactory musical ef-

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fect" and not to sacrifice poetic values for hypothetical intellectual concepts. He repeatedly encourages the student to con- sider aesthetic principles over and above specific "rules" of composition. Thus he is attempting to inspire the student with a personal responsibility toward his art.

Serial Composition is of value to all musicians interested in knowing more about serial techniques, but I would es-

fect" and not to sacrifice poetic values for hypothetical intellectual concepts. He repeatedly encourages the student to con- sider aesthetic principles over and above specific "rules" of composition. Thus he is attempting to inspire the student with a personal responsibility toward his art.

Serial Composition is of value to all musicians interested in knowing more about serial techniques, but I would es-

pecially recommend it for use in compo- sition courses. Brindle brings up a num- ber of controversial points which should provoke considerable classroom discus- sion, and he gives thirteen pages of ex- ercises in composition at the end of the book.

WALTER B. Ross University of Virginia

pecially recommend it for use in compo- sition courses. Brindle brings up a num- ber of controversial points which should provoke considerable classroom discus- sion, and he gives thirteen pages of ex- ercises in composition at the end of the book.

WALTER B. Ross University of Virginia

Form in Tonal Music, an Introduction to Analysis. By Douglass M. Green. New York: Holt, Rinehart and Winston [c.1965]. [xi, 320 p.; $8.95]

Form in Tonal Music, an Introduction to Analysis. By Douglass M. Green. New York: Holt, Rinehart and Winston [c.1965]. [xi, 320 p.; $8.95]

It is unlikely that two theorists will agree, except in the broadest terms, on the analysis of any composition of even modest complexity. Douglass Green's Form in Tonal Music is a good and useful textbook for teaching formal analysis, al- though, I must admit, I do not agree with a great deal of what he says. This does not mean, of course, that his ideas are necessarily wrong, only that as in- dividuals we see the same thing in dif- ferent terms. Several examples from the many analyses I disagree with will show the divergence of our thoughts. The analysis of the "Finale" of Beethoven's Symphony No. 3 is, from my viewpoint, based on a false premise: that the actual theme for the variations appears for the first time in the third variation. Dr. Green considers the melody presented after the introduction to be only the bass line of the theme. My objections to this are three-fold. First, the melody that Green considers to be merely the bass line has sufficiently distinctive melodic and rhythmic properties to be a melody in its own right. Second, most of the varia- tions involve only this melody. Third, except for a few motivic suggestions in the seventh variation, the melody intro- duced in the third variation always ap- pears as a whole, without any really sig- nificant change in design or contour. This

melody does develop into the predominant melodic idea of the movement because Beethoven is not really writing a Theme and Variations, but a grand Finale to a monumental symphony. That he could

convincingly transform the movement from the aspects of a Theme and Varia-

It is unlikely that two theorists will agree, except in the broadest terms, on the analysis of any composition of even modest complexity. Douglass Green's Form in Tonal Music is a good and useful textbook for teaching formal analysis, al- though, I must admit, I do not agree with a great deal of what he says. This does not mean, of course, that his ideas are necessarily wrong, only that as in- dividuals we see the same thing in dif- ferent terms. Several examples from the many analyses I disagree with will show the divergence of our thoughts. The analysis of the "Finale" of Beethoven's Symphony No. 3 is, from my viewpoint, based on a false premise: that the actual theme for the variations appears for the first time in the third variation. Dr. Green considers the melody presented after the introduction to be only the bass line of the theme. My objections to this are three-fold. First, the melody that Green considers to be merely the bass line has sufficiently distinctive melodic and rhythmic properties to be a melody in its own right. Second, most of the varia- tions involve only this melody. Third, except for a few motivic suggestions in the seventh variation, the melody intro- duced in the third variation always ap- pears as a whole, without any really sig- nificant change in design or contour. This

melody does develop into the predominant melodic idea of the movement because Beethoven is not really writing a Theme and Variations, but a grand Finale to a monumental symphony. That he could

convincingly transform the movement from the aspects of a Theme and Varia-

tions to those of a Finale is a splendid example of his genius.

Another analysis that strikes me wrong is that of Chopin's G minor Ballade. Green considers this composition in a chapter on unique forms, calling it unique in both design and tonal structure. It is, of course, nothing of the sort. I see it as merely a modified Sonata-Allegro form, having reversed recapitulation and ex- tended coda. Moreover, it demonstrates to a marked degree the problems Ro- mantic composers had with the develop- ment section, often using a good deal of completely new material in place of real development.

The symphony is not at all adequately covered. It is not enough to consider the form of each movement and ignore the structure as a whole. The symphony rep- resents the highest development of formal structure in Western music and often exhibits subtle interrelations between the various movements. It is far too complex a form to cover in a few general chap- ters on Sonata Form.

Other serious objections include the modified Schenkerian system of harmonic analysis (which I feel does not accurately represent what is happening in the mu- sic) and the fact that a number of mu- sical examples that do not always repre- sent the clearest example of the point Green wishes to make.

A word of warm praise is certainly due Green for his excellently organized presen- tation of the subject. If I disagree with his conclusions, I must say that his meth- od of arriving at the conclusions is sound and logical. He employs a six-point meth-

tions to those of a Finale is a splendid example of his genius.

Another analysis that strikes me wrong is that of Chopin's G minor Ballade. Green considers this composition in a chapter on unique forms, calling it unique in both design and tonal structure. It is, of course, nothing of the sort. I see it as merely a modified Sonata-Allegro form, having reversed recapitulation and ex- tended coda. Moreover, it demonstrates to a marked degree the problems Ro- mantic composers had with the develop- ment section, often using a good deal of completely new material in place of real development.

The symphony is not at all adequately covered. It is not enough to consider the form of each movement and ignore the structure as a whole. The symphony rep- resents the highest development of formal structure in Western music and often exhibits subtle interrelations between the various movements. It is far too complex a form to cover in a few general chap- ters on Sonata Form.

Other serious objections include the modified Schenkerian system of harmonic analysis (which I feel does not accurately represent what is happening in the mu- sic) and the fact that a number of mu- sical examples that do not always repre- sent the clearest example of the point Green wishes to make.

A word of warm praise is certainly due Green for his excellently organized presen- tation of the subject. If I disagree with his conclusions, I must say that his meth- od of arriving at the conclusions is sound and logical. He employs a six-point meth-

273 273

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