4.5 The twentieth century and early twenty-first century  (Page 3/3)

1. Determining the meaning of the notation (when nontraditional)

2. Convincing the choir that the new sounds are valid musical choices

3. Achieving a thread of continuity through a work that utilizes several twentieth-century techniques

Each new work must be thoroughly examined to understand the composer's intent. This is true of all music, of course. Every new work may have its own particular notation unlike any other piece, even another by the same composer. New notation follows only such rules as the composer may apply to a specific work. There is no standard, although a few notational features are being used consistently by a number of composers to mean the same thing. This use is approaching a standard and one will eventually be set. Usually composers place an explanation of their notation in a foreword to the score. Performance suggestions are likely to be included.

It is most important that the conductor have the complete confidence of his choir in order to successfully perform aleatoric music. The conductor must also accept the music as being valid and be willing to work as hard on that music as he would on any traditional piece. The rehearsal planning will be different but nonetheless important. (See chapter two for a discussion of score analysis of aleatoric music.)

Music for prepared tape and choir has become plentiful recently and has received a number of performances. As with all music, the quality of these works varies and conductors must judge each work on its own merits. Several works will no doubt become "standard" pieces in the choral repertoire while others will be discarded. More of these works were composed in the 1970', 1980s' and early 1990's than now, it seems at least by the performances. However, there are composers experimenting with a variety of electronic means, voices and other instruments.

Conductors should be cautioned about use of tape and voices together. Unless a certain quality is specified by the composer, a full singing tone should be employed. The tone should be vibrant, containing a minimal amount of vibrato, and not be an attempt to mimic the electronic sounds. The composer is aware of the natural qualities of the human voice and wishes to capitalize on the difference between the voice and the taped sounds. He does not expect one to sound like the other, except where carefully specified.

Another important consideration is the quality of playback equipment. In general, the quality of playback equipment has improved greatly, is more diverse with excellent systems while the price has diminished.

Choral composers of the twentieth century

Suggested works for study

Collect (with electronic tape), Bassett (World Library of Sacred Music) Nine Choral Fragments (Aleatory), Childs (Keynote Music Co.) All the Ways of a Man, Nystedt (Augsburg Pub. Hse.) Carols of Death, Schuman (G. Schirmer) Rejoice in the Lamb, Britten (Boosey and Hawkes) Christmas Cantata, Pinkham (Robert King Music Co.) Aleatory Psalm, Lamb (World Library of Sacred Music) Magic! Magic! Magic!, Kubik