Musical Form And Structure

practice of medicineal Form And structureWhat is the difference between music and noise? In a own(prenominal) sharpen of view, single all-important(prenominal) difference is that music springs sense. It has its own structure, rudimentary patterns and it immortalises how composers made the composings by their logic as well as their fill out management. Therefore I would say, a world without whatever structure and mastermind stooge be only called noise instead of music. To research the structures and contours of a piece, we have to k straightaway what the structure is as well as what the function is, when I was studying in schools, I thought the structure is the contrary themes and how they were connected to severally other the radiation diagram would be sonata figure, ternary or something like minuet. After acquiring deeper into some 20th atomic number 6 composers and their music, I discoverd it is non as simple as that.Firstly, the structure in music besotte ds the complex composition of musical knowledge or experiments as elements and their combinations. And the form in music means the shape and the word form throughout the whole work. I consider that in music, structure and form are both extremely important somehow we heap hit the books structure by a macro view and seek form by a micro view. Children who study in music schools shape some early period formal music structures and forms such(prenominal) as analyzing pieces by Bach and Beethoven We all k sassy more or less many fundamental forms in music since childhood. But in the modern world, music gets deep and complicated. For some audiences, it is im realizable to realize any structure in coetaneous music such as John coops piece 433. They think the piece was near composed like a blank paper. Structure and form seems never existed in this music. I have to say, people whom consider present-day(a) music does not have structure or form just do not understand the music its elf at all.Everything has a reasonableness to be there, such as composers have their own notions of creating music. To prove this view, and to show the forms and structures in John Cages 433, I will analyze this piece below.1. basisJohn Cage has made a huge experiment on this composition 433 to the world. Unfortunately the first performance of this piece was like a scandal. It was written in 1952, his so-called piece in silence. Performers elementalally go on to the stage and play nothing for exactly four transactions and thirty-three seconds. At the premier some listeners did not even realize they had heard anything at all. Obviously audiences were angry and felt being deceived later on(prenominal) the concert. The premiere was performed by the young pianist David Tudor at Woodstock, freshly York, on August 29, 1952.1433 was written for any instrument or any instruments combination.NOTE The title of this work is the total length in transactions and seconds of its performa nce. At Woodstock, N.Y., August 29, 1952, the title was 433 and the three move were 33, 240, and 120. It was performed by David Tudor, pianist, who indicated the beginnings of split by closing, the endings by opening, and the keyboard lid. However, the work whitethorn be performed by (any) musician or combination of instrumentalists and last any length of time.2FOR IRWIN KREMEN JOHN cage in_________________________1 J.Cage, Silence Lectures and Writings (USA, 1961), 102.2 J.Cage, A year from Monday new lectures and publications (USA, 1985), 77.From the statement above, we can already see some basic structures in this piece it is divided in three parts, and the lengths of them were 33, 240 and 120. (There are 2 ways of dividing this music, which I have mentioned below)2. MaterialsJohn Cage has apply a few materials, or elements to compose 433. Through this piece, Tacet (As the get wind of the score shows) is one of the materials. However, another material which people always ignore is the division of tacets. ambit of John Cages writing of this pieceBase on the score, Cage employ division twice to move in three tacets in the whole piece. And these ii divisions and three tacets formed this composition logically, thus ITacetDivisionIITacetDivision treyTacet3. AnalyzeCage has clearly shown the tacet in this piece. But about the division, we can analyze it in different ways. If we think mathematically, use tacets and divisions to build a function If division is in pendent variable x, the musical form is dependent variable y, then based on the function mode y=f(x), we can get thisForm = Tacets (Divisions)Now we calculate this mode, we get devil different results1. Tacet-Division-Tacet-Division-TacetIf we make Division bigger and bigger, then it becomes the part of the piece, (as important as tacets), therefore we can get this musical form A-B-A-B-A2. Tacet-(Division)-Tacet-(Division)-TacetIf we make Division smaller and smaller, until it has but only has the ability of dividing Tacets, then we can get this musical form A1-A2-A3Those two forms we all have analyse in early schools, so I am not going away to talk about them further here.As we can see from this image statement, John Cage has apt(p) some freedom in this piece to the performers The performance in Woodstock gave the timings 33, 240, and 120, but the original print program says that the timings were 30, 223, and 140. also as I mentioned above, this inactive piece could be played by any single instrument or any combination of instruments. It is a freedom piece But that does not mean this piece has no form however it divides, we can nevertheless find the forms. People may ask, although the piece has a form such as A-B-A-B-A or A1-A2-A3, it still does not have a very convictive structure. How did John Cage make three movements out of this piece and how did he determine the length for each of them? These three parts seem unlikely balanced and managed.Well, in that case , Cage has pointed to this particular Tarot card formation when shown a number of possible configurationsThis is one of the most complicated configurations and is organized in three parts of concentric horseshoes. Each horseshoe has represented one movement, with these cards which attitude a length that could have been plus to the duration of each movement. The point above seems to be able to answer a lot of questions about the structure of this silent piece. It illustrates how the movements were built up by those little silent cards, also how the composer can know when a movement finishes, why he made this piece into three parts. Somehow these questions seem to have a greater effect on what we hear. However, we can suppose that he utilize these cards for his composition and it shows the decision of three movements. When people asked about the differences in time lengths of the scores, Cage utter that it could be of any length. This does not mean that the formal structure of this piece could be violated at all. He said that it would still be titled 433, also the durations of the movements must be determined by some type of chance procedure, and it must be in three movements. 3This piece seems to be very catchy for performers after seen this Tarot Cards formation. Because it becomes so easy to make mistakes and dominate the beats. But Cage said that this is not the point. The point is about the smell it creates, both the performers and audiences are dispensable. What the piece needs is a devoted and fire listener. However, those methods which Cage used for 433 have offered the audiences a huge freedom area. The point, the kernel of this piece has changed. Normally we try the best to do what composer says on the score, now we do what we feel and define our own potentials. The structure that Cage used was mathematical for composer as well as humanized for performers and listeners. Although this piece has no concordance and melody lines, it still has a st rong meaning. The spirit of Cage, like what Alex Ross said about this piece in his book The music was the sound of the skirt space. It was at once a head-spinning philosophical statement and a Zen-like religious rite of contemplation 4To conclude, structure in music is the sense which composer has given form in music is the shape and the propriety which composer wants to represent. In the premiere of 433, audiences were angry and negative, but after understood the inner sense and getting deeper into the purpose of Composer, people loved it. When you could not find the structure or the form in any particular piece, it does not mean that they were not existed. As I have said, everything has a reason to be there, such as composers have their own notions of creating music. The real music only appears after researching and understanding.______________________________3 J.Cage, Silence Lectures and Writings (USA, 1961), 1094 R.Alex, The Rest is Noise, listening to the Twentieth Century (U SA, 2007), 401Selected bibliographyBooks-J.Cage, Silence Lectures and Writings (1961, USA)-R.Alex, The Rest is Noise, listening to the Twentieth Century (2007, USA), 401-P.Yates, Twentieth Century Music (1967, London)-J.Cage, A year from Monday new lectures and writings (1985, USA), 77.-P.Marjorie, J.Charles, John Cage composed in America (1994, USA), 193Articles-L.Eleni, Learning from get the hang of Music Creativity Shaping Compositional Experiences in Music Education, ism of Music Education Review, 15.2 (2007), 93-117-C.Hong, John Cage with his silence piece, Zhong Hua Music Review, 17.2 (2003), 78-92Websites-S.David, Unreconstructed Modernist, the Atlantic online (Accessed September 1995),http//www.theatlantic.com/issues/95sep/boulez.htm