Old Guard and Avant-garde - Essay Example

?Music Task: Music In this analysis, it is essential to consider two works of 21st century artists. Avant-garde music will refer to the same that brought new concepts and lead to a change in general composition (Nicholls, 2002). This new influence might have lasted for some time. In this sense, music that builds on the new composition for a given period is perceived as the old guard. It is vital to note that this classification does not build on a historical period. It builds on the concept whether certain music set a different pace. Similarly, it builds on the concept whether music followed a trend of a given period. It is essential to utilize examples of successful composers who harnessed an influence in their times. In addition, they have to possess analyzable compositions. In this article, the discussion utilizes two compositions that gained intellectual and public discussion. Therefore, the article utilizes the example of sonatas and interludes by John Cage (Nicholls, 2002). Additionally, the paper shall utilize the example of the rite of spring by Igor Stravinsky (Hill, 2000). It becomes essential to consider other perspectives to a song, apart from its objective analysis, in determining the essence of a composition. John Cage professed radicalism in his compositions through his early years. John Cage had several interests in his pursuit of artistic life. For instance, it is worthy to note that Cage enrolled in a creative writing institution (Bernstein & Hatch, 2001). He later drops out of the same while explaining that the institution utilized few texts in writing. The incident of the creative writing institution was a manifestation of someone who easily got dissatisfied with repeating others’ ideas. At the same time, he respected their creations. In addition, Cage began piano lessons in his childhood days while never declaring that he possessed an interest in the same. Such an early disinterest might have expressed later as an exceptional creativity in his works. Cage even tried his brains on Greek architecture until he got bored of the same. Despite Cage’s new concepts, he had earlier influences that triggered his interest in composition (Bernstein & Hatch, 2001). During his stay in Europe, he had an influence from John Sebastian and Igor Stravinsky. Cage’s universal appeal in his compositions might have been derived from his travelling experiences. His other interests included painting and theatre. His most relevant moments to his genius are explicit in his study period with Schoenberg. Schoenberg later described Cage as an inventor rather than a composer. Cage’s life is evident of adventure that goes beyond music. In this article, it is vital to highlight his musical experiments. Cage defined everything as music (Bernstein & Hatch, 2001). This illustrates by the use of silence to create the 4.33 composition. In this composition, he requires the listener to listen to sound of the background. Cage commenced experiments by employing different equipments as musical instruments. He used domestic items such as spoons, plates and sheets (Nicholls, 2002). He later taught and continued exploring, on non-musical objects, to enhance compositions. The flow is a piano sound. It is void of the pressure of earlier compositions as it oozes out. John Cage displays his experimentation skills by utilizing single instruments for whole compositions. The composition of sonatas and interludes provides a unique articulation. It entails four sonatas that precede one interlude. The pattern repeats itself with four sonatas and one interlude. This follows a pattern of mirroring effect. It composes of a ten-unit structure that exists in the proportion of 3-2-2-2. An example is sonata-four that gives a measurement of one hundred. Cage employs the instruments to fit in the overall structure rather than the microstructure (Nicholls, 2002). This displays a new structure that Cage tries to infuse into a composition. Previous compositions entailed the same that strived to engage musical instruments into single structures. In addition, sonatas and interludes assume a subtle pattern that takes time to deduce. This refers to a rhythmic structure that highly utilizes calculations to the same. It refers to a structure that builds from mini compositions in the same. This makes this piece a typical avant-garde music. It becomes an unusual adventure to listen to few sounds for a significant time. In this perspective, one feels neither asleep nor awake. One feels engrossed in the centre while experiencing the passage of time. It compels an individual to be oneself for a substantial period. It accords a lasting impression of tranquility and spaciousness. Similarly, it possesses a composition of sounds that do not hold any other sound besides the same. This piece has notable music details. For instance, it goes for four minutes. The first sonata lasts for two seconds and fifty-one microseconds while the second sonata lasts for two seconds. The average time for the sonatas is two seconds. The interludes last in an average interval time of three seconds. This is because the first interlude lasts for three seconds. The following interlude last for four seconds. The same time for the third interlude attains a value of close to three seconds. Cage’s avant-garde style explored different world regions to produce a distinct sound. This forms the basis of sonatas and interludes. It is essential to note that Cage’s style did not strike the fancy of the public at that time. This led to his disillusionment with employment of art as a means to communication (Bernstein & Hatch, 2001). Similarly, he did not understand other artists’ compositions. This signifies a transition of styles to new ones whereby individuals become reluctant to accept the same. The composition of Sonatas and interludes stems from Cage’s encounter with an Indian who was known as Gita Sarabhai. The Indian offered to teach Cage Indian music. In return, Cage learnt about Indian philosophy and music. This offered a platform where other cultural influences could affect compositions (Nicholls, 2002). This forms the basis of Sonatas’ composition whereby it provides a shift from the old culture whereby music utilized compositions from single cultural influences. According to the Indian historian influences, Cage composed Sonatas as based on eight emotions from the same. This is known as heroic, wonder, humor and erotic. The other emotions consist of sorrow, fear, disgust and anger. This follows the concept of four sonatas and interludes that provide a distinction from the same. Four sonatas ascribe to good emotions while the other four ascribe to bad emotions. This concept formed a new age of philosophical influences that describe this piece as avant-garde. In the next discussion, it becomes essential to analyze rite of springs by Igor Stravinsky. He is renowned for an impacting influence in the 20th century. This position has always accorded Igor Stravinsky’ compositions avant-garde status. He was a pianist, conductor and composer that produced compositions for ballet dances. He struck style diversity that hailed him as a non-predictable composer. The rite of spring practically caused a riot and entailed a musical and societal influence. The premiere was controversial in the sense of bizarre choreography, story and costumes (Hill, 2000). It was responsible for different thoughts as regards rhythmic structure. This musical revolution was striving to push traditional boundaries. His other unique directions include neoclassical music and influence from traditional compositions such as symphony, concerto grosso and fugue. This piece, the rite of springs, possesses a complex structure and innovation that makes it difficult for most instrument players to conduct the same (Hill, 2000). It also possesses high quality of musical notes that strike in one’s mind as a unique piece. In addition, the composition is eminent in the use of dissonance to create sounds that strike a subtle harmony. The sounds move towards a certain harmony until they break and set a different mood to the same. In the same direction, the sounds try to converge to a certain harmony and diverge to a different one. The piece lasts for two minutes whereby the cycles of dissonances last for two seconds. This qualifies the rite of springs as avant-garde music. The music is irregular and highly unpredictable. During its first performance, Igor called for the use of a bassoon that individuals never recognized as the same. The music did not possess a melody as it consisted of jarring sounds and irregular accents. However, it always depicts a struggling harmony. The source of rite of spring’s inspiration sets an avant-garde articulation. Igor spoke of a dream as an inspiration to his works. However, he might have received the idea from a Russian painter (Hill, 2000). The Russian painter was known as Roerich. Roerich struck an idea of a pagan ritual whereby a girl engages in a dance to death. Igor performance utilized costumes that depicted traditional Russian paganism. The music later evolved and achieved popularity with ballet dance audiences. Although the composition had folklore influences, Igor admitted to using only one of the same. It becomes in the beginning of the song. It first expressed through a bassoon. Igor strived to produce compositions that would be performance-oriented (Hill, 2000). Thus, he was trying to break from traditional domain of quietude songs. The mood of this song confirms as turbulent and vigorous. It arouses strong emotions and anxieties. Igor’s work achieves modernist analysis, as it seems to strike unfamiliar paths. As regards this, it possesses numerous interpretations. The composition is adventurous in its harmony. However, it utilizes dissonance to create energy rather than create an intentional discord. This seems to be perfect for ballet whereby both the audience and dancers harness energy in phases (Hill, 2000). It also utilizes repetition of ideas and melodies, in fragments, to create a complex interaction of rhythms. In this sense, it becomes appropriate for numerous instruments and orchestra. It is deductible that Igor was inventing a new design whereby music would correspond to performance and instruments. This is also evident in Igor’s interest in the rite of springs’ premiere. Reports of the premiere indicated that his ideas dominated the articulation of the performance (Hill, 2000). This means that he tries to make sure that his composition is practical as concerns performance and instruments. This classifies this piece as an avant-garde music. References Bernstein, D., & Hatch, C. (2001). Writings through John Cage's Music, Poetry, and Art. Chicago, IL: University of Chicago Press. Cage, J. (2012). Sonatas and interludes for prepared piano. http://www.rhapsody.com/artist/john-cage/tracks Hill, P. (2000). Stravinsky: The Rite of spring. Cambridge, CB: Cambridge University Press. Nicholls, D. (2002). The Cambridge Companion to John Cage. Cambridge, CB: Cambridge University Press. Stravinsky, I. (2012). Petrochka: the rite of springs. http://www.rhapsody.com/artist/igor-stravinsky/tracks Read More