The Process of Modulatio in Musical Collage

The Process of Modulation in Musical Collage
Author(s): CATHERINE LOSADA

Source: Music Analysis, Vol. 27, No. 2/3 (July-October 2008), pp. 295-336
Published by: Wiley
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DOI: 10.1 1 1 1/J.1468-2249.2009.00285.X
CATHERINE LOSADA
The Process of Modulation in Musical Collage
The practice of quotation proliferated in the musical language o

composers in the 1960s, in strong contrast with the dominance of sel
serial technique in the 1950s. The current study focuses on a particu
this repertoire known as collage.1 It is distinguished from all previo
to musical borrowing, with the exception of that which characterise
of Charles Ives, in the amount and variety of quoted material and th
which it maintains its individuality, refusing to be absorbed into the
the composition into which it is imported.2
Because of the emphasis it places on juxtaposition, this collage
poses new questions and challenges for the music analyst. Owing
variety of musical languages which are invoked by quoting from div
the very issue of which analytical tools should be used to approach t
unclear. Thus, the scope of analytical work on this repertoire has tr
been limited, concentrating primarily on the technique of juxtaposi
concept of discontinuity. The connections between the elements
derived from the various sources have usually been described in term
ential connotations or isolated motivic correspondences.3 Furthermo
most part this kind of examination has typically been confined to a
specific piece or the output of a single composer.4
In this article I shall examine the points of intersection that pe
juxtaposed quotations in three strongly contrasting but represen
studies: the third movement of Luciano Berio's Sinfonia (1968), the f
ment of George Rochberg's Music for the Magic Theater (1965) a
movement of Bernd Alois Zimmermann's Musique pour les souper
(1966). I shall focus on the specific issue of how the transition betw
elements - the process of modulation - is achieved in a musical collag
term 'modulation' because in its diverse connotations it brings to m
which remain evocative in the collage repertoire. In particular, the s
distinct harmonic domains, the recurrence of a main or dominant s
the concept's association with sharp contrasts and the efforts to rec
contrasts all resonate with earlier uses of the term.5
Although borrowing from pre-existing sources has occurred throughout
Western music history, the practices of borrowing established in the 1960s stand
apart from earlier models, primarily in their scope and intensity.6 As other
scholars have noted, in most pieces written prior to the twentieth century which
incorporate borrowing, quotations stem from a single source, often conjuring a
Music Analysis, 27/ii-iii (2008) 295

© 2009 The Author.
Journal compilation © 2009 Blackwell Publishing Ltd., 9600 Garsington Road, Oxford OX4 2DQ, UK
and 350 Main Street, Maiden, MA 02148, USA
296 CATHERINE LOSADA
specific image or reference (as in the

Berlioz's Symphonie fantastique and L
rowed material is translated into the
uniformity is maintained (for examp
or J. S. Bach's use of Lutheran hymns
French contemporaries).7 J. Peter Bu
the pre-1900 repertoire of pieces whic
such quotations are used to suggest
life, in the individual imagination or
Undoubtedly the collage works of th
tions which sparked important borro
Neoclassicism, Dadaism and musique c
of the 1960s remains distinct from t
range and density, but also because it
non-linear developments and influenc
aesthetic and technical principles der
to dispense with the complete contro
tial to the development of this reper
on the very nature of the era's music
The vogue of electronic music which
musical collage created an innovativ
juxtaposition. Overall, the collage repe
most music written earlier in the c
quotation through the use of layer
synchronised in different ways but m
dent pitch content, timbrai colourati
teristic stratification is further em
alternately converge and separate, th
known sources and the attendant sp
particular instruments or clearly dif
larger ensemble.
The impact of the reaction against s
1960s is a fascinating question. Because many composers who espoused the
practice of collage were trained in the twelve-note method, some scholars have
argued that serialism continued to exert an influence on their musical style.11
However, many of these composers exhibited widely divergent stylistic inclina-
tions and came to the use of quotation via sharply differentiated paths.
Zimmermann, for example, was heralded as one of the main practitioners of
collage and the first composer to deal extensively with quotation since Ives.12
Thus his early works from the 1940s and 1950s were noticeably characterised by
the juxtaposition of contrasting materials, in which twelve-note techniques were
incorporated alongside a variety of other elements. In part, Zimmermann sought
to approach the practice of collage partly through a more general preoccupation
with the nature of time, which he claimed could be experienced as a unity of past,
© 2009 The Author. Music Analysis, 27/ii-iii (2008)

Journal compilation © 2009 Blackwell Publishing Ltd.
The Process of Modulation in Musical Collage 297
present and future.13 Rochberg, on the other hand,

conscious stylistic shift after many years of exploring ser
interest in the latter having been sparked following a m
lapiccola in 1950). 14 According to Joan DeVee Dixon (
adoption of the practice grew out of can obsession with th
of human existence and the contradictory nature of all h
as an 'increasing disbelief in the value of all unitary s
composing "contemporary" music', not to mention a d
which spanned his entire career.15 Berio, who also stu
never embraced strict serialism, although aspects of it inf
the 1950s, and a predilection for exploiting the full chro
important characteristic of his harmonic idiom.16 Lik
sionally sought to make clear his aversion to strict preco
any kind.17 His allied attraction to collage resulted fro
electronic music (especially in the 1950s and early 1960s),
literature (especially that of James Joyce).18
In addition to playing a catalytic role in the dissolution
nance, the practice of collage in the 1960s marked the st
developments in musical style which have taken place sin
said that for him it constituted the beginning of a re
significant implications for the musical language of cont
Similarly, collage's eclectic nature established a platfor
incorporating extremely diverse influences, thereby setti
over field heavily influenced by rock and popular music.
therefore represents a significant crossroads in the develo
century musical language, marking the starting point
stylistic innovations.
These eclectic influences raise some fascinating question
cisely musical collage constructions fall within a consider
postmodernist aesthetics. The question of whether pos
conceived in opposition to or as a further extension of m
this study.20 Collage throws into question both the conc
and the concept of an underlying unity between all co
critically debatable features of modernism which would in
are technically allied to a postmodernism of reaction.21 H
resistance itself has been described, like many other cha
ernism, as an essential feature of modernism as well, which would tend to
consolidate the idea of a link between the two.22 An evaluation of the musical
language of these works, and particularly of the complex interaction between
continuity and disjunction therein, will provide essential points of orientation
within the present discussion.23
Each of the pieces under consideration features quotations from a variety of
sources and proceeds to foreground the effects of juxtaposition in ways which
ensure that the element of discontinuity remains prominent. Significantly,
Music Analysis, 27/ii-iii (2008) © 2009 The Author.

however, the formal structure of all t

as each conforms to the essential characteristics of the source work on which it
is based. Moreover, such commonality notably accords with the key definition
advanced by Burkholder, wherein a musical collage blends all the major catego-
ries of musical borrowing, including uses of existing music 'that are primarily
structural, through those that are both thematic and characteristic, to the purely
programmatic' (Burkholder 1995, p. 8), yet results most concretely when ca swirl
of quoted and paraphrased tunes is added to a musical structure based on
modeling, paraphrase, cumulative setting, or a narrative program' (Burkholder
1995, p. 4). In contemporary instances of musical collage, then, as in the works
of Ives to which Burkholder directly refers, extensive thematic quotation from a
given source may well disclose a deeper kind of reliance, such that the source of
the appropriated material may also provide the inspiration for aspects of large-
scale structural design.
Famously, of course, the third movement of Berio's Sinfonia aligns for the
most part with the structure of the Scherzo from Mahler's 'Resurrection' Sym-
phony (almost to the extreme of direct correspondence between their respective
temporal frames). The Scherzo is utilised as a cantus firmus throughout most of
the piece and provides the underlying rhythmic and durational scaffolding for
nearly all of the remainder, even in the absence of actual thematic material.
Fig. 1 provides a schematic comparison of these two related movements. The
boxes in the top row correspond to the different sections of the Scherzo. The
broken line in the second row offers a rough indication of the points at which the
Scherzo is obliterated by the introduction of superimposed quotations within
Berio's host text. Under this line, the numbers preceded by plus and minus signs
indicate deviations from the temporal outline of the Scherzo (in the form of the
insertion or deletion of individual bar units). The fourth row labels the main
sections with upper-case letters, and the fifth row labels the subsections with
lower-case letters. The sixth row presents the bar numbers for the different
sections of Sinfonia, while the bottom row provides, for purposes of comparison,
the corresponding bar numbers in the Scherzo.
Fig. 1 Chart comparing the formal structure of Mahler's Scherzo and the third
movement of Berio's Sinfonia
ι - r ' " |
-2 +1 +6+22 -9 -2 Λ +21 +1 -15 Λ -10

Int. A (Scherzo reprise) B(TnoI) A trans C (Trio II) trans. A B Λ C ^ A Λ
w w χ y χ ζ <KECAP. INT.»
b 1 10 65 101 147 187 209 233 256 270 357 375 423 456 568
Mahler 12 272 328 348 407 440 545
trans
As this illustration shows, quotations are generally layered over the Scherzo
such that they serve to coincide with or are even made to emphasise important

formal subdivisions. Thematic reference to the Scherzo a

reprise resurfaces is especially prevalent; thus the formal
continues to be operative throughout the third movem
entirety. Within these inherited boundaries., however, t
the Scherzo is typically dismembered, sometimes disappe
the texture, at other times appearing in juxtaposition
Furthermore, a supplementary mode of 'commentary
extra layers, clusters, chromatic lines, thematic distortion
stylistically distinct quotations from the repertoire, not
deviations from the prevailing temporal framework (esp
two large insertions during the course of the piece - one
lation, constitutes the main distinction between the form
pieces).
Rochberg's Music for the Magic Theater is modelled on Mozart's Divertimento
in B!>, K. 287: the first and second movements of Rochberg's piece present
quotations from Mozart's six-movement work which reflect its chronological
organisation. In the first movement of Rochberg's host text, the quotations are
from the first movement (Allegro) of the Mozart Divertimento. The middle
movement of Rochberg's piece is essentially a transcription of the fourth move-
ment (Adagio) of the Divertimento, and it ends with a quotation from the
Divertimento's last movement (Andante - Allegro molto). Considering the
Rochberg work as a whole, both the chronological organisation and the increas-
ing length of the Mozart quotations indicate that the type of modelling used is
one in which the Divertimento underlies Rochberg's reconception, gradually
surfacing and then receding, and eventually approximating to what Burkholder
terms a cumulative setting, in this case expanded by retrograde symmetrical
treatment. The treatment of the quotations within the first movement supports
that impression. The quotation from the first movement of Mozart's Allegro
movement (bars 6-24) falls below the surface at rehearsal number 15, only to
re-emerge at rehearsal number 20 (bars 60-66 of the Allegro) in approximately
the same amount of time as if Mozart's Divertimento had continued to play
throughout.
Fig. 2 summarises the formal structure of the first movement οι Music for the
Magic Theater, emphasising the placement of the quotations from Mozart's
Divertimento. Because of the cumulative process, the modelling here is much
less pervasive than in the third movement of Sm/oma.The movement constitutes
a prototypical model of a musical collage. It is composed of numerous successive
short segments which are set off from the surrounding sections either by textural,
stylistic or tonal juxtapositions, or by rests. These sections correspond to frag-
mentary quotations from a variety of pieces, with original material by the
composer interspersed and superimposed in newly composed sections which
relate to the quoted content in a myriad of ways. These layers again provide a
form of commentary incorporating a broad range of styles and textures, from
freely atonal lyrical passages in the solo flute to strident, hocket-like passages in

Journal compilation © 2009 Blackwell Publish
Fig. 2 Formal structure of the first m

Theater
m
so I
t- ■ t" M a s a a s ^ a ö
or »τ I ë ■-: s s -: oc ο ^ ë 1
á ιζι © c/5 c« © .ην . «5 ä
^ >, · c£ ß g Ç Ç g >» J >> Ç c£
/titlül UîllîïLtl it'll!

.fi C G »-Γ G „Γ C O GÍSGGGGGÍStdí-rS G t-Γ G G G g
á 1 3 i 3 '§ 3 8 1| 3 3 1 1 1 I« 'S 3 'S 3 3 3 g
C^c3^c3^c3X) cd .. 03σ3σ3ΛΛ.. «C ^ κ! ^ ci cd c« Í
•öCMÖMßöbbb (äa MMMMMe Mg bû g bi) ώ Μ ώ
OOi-0>-0>-S-H Vh .5 ^H ^H V-i V-i Vh .S >-i O í-hOS-iS-ií-iS-i
^S | <çy| cg; | o/| o^ | ox| p^; | pe^ | | tá ' O' & ' oi ' á ' & ' & ' O' & ' C
Â^TÍaC DEBDADBE F ABDAC
the upper woodwinds and brass which, although aggregate based, are not strictly
serial. Likewise, the distinct musical languages of the incorporated quotations
(from Mahler, Mozart and Varèse) contribute to the formation of an extremely
disjunct musical texture. Furthermore, though both quotations and commentary
surface in different guises throughout the piece, the various recurrences form no
distinguishable pattern.
Finally, Zimmermann's Musique pour les soupers du Roi Ubu is modelled on a
set of Renaissance dances (although these sources are actually quoted in only
three οι Musique' s seven movements). Allusion to the Renaissance dance suite
provides a dramatic element which coincides with the theatrical conception of
Zimmermann's work. On the surface, the allusion evokes the type of entertain-
ment often played for a monarch. Simultaneously, however, the irony implicit in
paying homage to this tyrant (King Ubu, the title character of Alfred Jarry's play)
is directly manifested in the host text's distortions of the underlying dances.
On a technical level, the modelling lends each of the seven movements of
Zimmermann's Musique a clear and distinct formal structure which underlies the
variegated surface created by the quotations in the work. Several interior move-
ments of the piece present, as an underlying layer, renditions of dances which
rely for their coherence on an inherited scheme of formal repetition.24 Layers of
quotations are laid over this base in a way that emphasises, rather than disrupts,
the process of thematic repetition typical of the dances.25 Even the movements
of Musique not based on a quotation from a Renaissance model (such as
the sixth and seventh) proceed to mimic the binary formal structure typical of

Fig. 3 Formal structure of Musique pour les soupers du Roi U

décervellage'
.8 1
> > Ζ
il S Si j 1
fil Uff
ρι sau
ε" = ·" > β g1 s"
III HU
PQ c/} !^ |> 73 PQ D3
Α Β Α Β Α Β Α Β' Af Β'Α' Β' Af Bf

-.
X (Intro.) Υ Ζ
b. 1 25 27 3135 43 50 66 80 84 86 88 90 96
these dance pieces. Thus, the Renaissance suite provides the mo

together the formal structure of this collage composition.
As shown in Fig. 3, the last movement of Musique presents sever
able source components: a number of elements variously deriving f
Symphonie fantastique, a relentless ostinato chord borrowed from
Klavierstück IX and music taken from Wagner's Die Walküre. Alth
taposition of unrelated quotations of this kind frequently evokes an
perceptual discontinuity, there are also a number of ways in which
tions are linked to achieve a tangible formal cohesion. Indeed, a
under examination here demonstrate different means by which th
collage is employed to create new continuities emphasising the
tural integration. The disruption of the space-time continuum
evident in other temporal arts capable of exploiting techniques of
such as film, theatre and the novel. In the verbal field, an underly
holds together the discontinuous fragments, while the juxtapositio
create new non-chronological associations essential to the projection
and to the expressive quality of the work. Analogously, besides
modelling collage compositions encompass three specific principles
disruptive effects engendered by disparate quotations may be med
tically and hence semantically: overlap, chromatic insertion an
plasticity.26

Overlap
The technique of overlap traverses th
subtlety and can function on many d
types of overlap stand out in the thr
convergence and textural dispersal/
pitch connections at different levels
tural) which support the process of
Textural dispersal/emergence is pro
neously and are subjected to a proc
modulation between quotations is a
persed while snippets of another elem
length of the newly nascent fragmen
Fragmentation in this context is actually somewhat analogous to Arnold
Schoenberg's concept of 'liquidation' in the realm of phrase structure, which
'consists in gradually eliminating characteristic features, until only the uncharac-
teristic ones remain, which no longer demand a continuation [and] ... which have
little in common with the basic motive' (Schoenberg 1967, p. 58). As we shall see,
it is common for the different techniques of overlap to occur simultaneously.
Pitch Convergence
Ex. 1, from the third movement of Berio's Sinfonia, presents a clear illustration
of how literal pitch convergence can achieve the effect of modulating between
various different excerpts on a foreground level. Significantly, the convergence
pitch in this case, F, is the local tonic of the underlying Scherzo; it is presented
as a sustained note in the soprano line. At bar 126 the excerpts from Ravel's La
valse (five bars after rehearsal number 39 - represented by the thick rectangles),
Mahler's Scherzo (represented by thinner enclosures) and Berlioz's Symphonie
fantastique (represented by broken-line enclosures) converge on the pitch F5.
Significantly, the last pitch of the Ravel descending chromatic line is modified
from Fit to R to reinforce this process. At the same time, this modification also
succeeds in converting the last four pitches of the Ravel excerpt into a chromati-
cised version of the A-G-F diatonic descent featured in the Berlioz quotation. As
the various interlocking annotations demonstrate, convergence is not limited
here to just one single pitch. In bar 126, the first three pitches in the second violin
and viola lines (quoting Mahler and Berlioz respectively) are exactly the same,
which prompts a smooth if temporary modulation between the two. The last two
pitches in the first violin in the same bar, which quote from Berlioz, correspond
in turn to the missing pitches in the excerpt from Sinfonia, which lead to a
re-establishment of Mahler's text in the soprano line.
Pitch convergence can also operate on a middleground level. As Ex. 2 demon-
strates, at bar 43 of Sinfonia, a fragmented version of the Berlioz Symphonie
fantastique excerpt is superimposed over the Mahler Scherzo. The superimposition
is moderated by both pitch convergence (on C) and middleground motivic

Ex. 1 Reduction of Berio, Sinfonia, iii, bars 125-132

pitch convergence on F5
I Berlioz. Symphonie fantastique, b. 157/fe^- s „
^yo = -==' ~,
ppp - ==Z
Ravel. /.</ i'«/.vt'. no. 39. b. 5 u_ ^ s ^
|~j ~) j^' jl ^^ jjjwr~ ~~ ^^^^^^J ^^yl^^l ~~ |j *J w w ^ ^ ^ - j^ - Ι ι ~~~^^^j^*~ | - - ^^^^~-
V " altered Berlioz, b. 156
U π ' ~^~~~~^ ι j|»^ 'I I J ^^^^*^s. [Λ ι I ' L ^ I 1
i!RP- === J> ppp ff
Mahler, Sch τζο. b. 127
Γ 1;-^^ 1!"^ :
Berlioz, Symphonie fa
Ex. 2 Berio., Sin
Berlioz, Symphonie fan

(-W. +1. 1, 2)
rTQ f S^., ι ff |f~^ft J . fTÎFr .1 _ 1 _ I

Fi·' r fe Bjffrj ι 7 7^ J
•^ ^" (t9, fl 1.-2)
pitch convergence "y

I
nf
Timp. Ν |Jl7 7Ρ ^7 7 IJ-.7 7 |^7 7 |Jw 7 | Jh 7 |bp 7 7 | Jm 7 1

Ex. 3 Zimmermann, Musique pour les
j vl
*"**" ir
^-
*"'" ~ ff
..»: |*»B~flfl"^JjJj J JTH
jO^ ~~
^ ff
/
Stockh.iiiscn khnuisiiick I V
correspondence (the ordered pitch intervals of both excerpts are identical, t

the Berlioz excerpt presents the Mahler Scherzo material in longer note valu
Motivic correspondences are thus important in the process of modulation, as t
constitute part of the larger framework governing the points of intersection a
disparate quotations.
Ex. 3, from Zimmermann's Musique pour les soupers du Roi Ubu, constitut
another clear illustration of pitch convergence extended beyond the foregro
by means of motivic correspondences. In this case, a quotation of the Dies ir
it appears in Berlioz's Symphonie fantastique is superimposed over a quot
from Wagner's Die Walküre. The semitonal oscillation motive which is so im
tant in the Wagner element is represented by the same pitch classes in longer
values in the Symphonie fantastique fragment. Simultaneously, the forte At i
brass which concludes the main theme of the Wagner quotation prepares
full-textured Bl> major of the juxtaposed Berlioz Symphonie fantastique exce

Ex. 3 Continued
i- i tflrfflflj" ι CUtf J" r> " ffltrfrf r ι CtltL" π * grírírí r ι fT.iffl.j~ fi " [ffTrriTi ~ |''^L
ff
>
ΑΛΛΑΛΛ ΛΛΑΛΑΑ ΑΑΑΛΛΛ ff
ff
that follows. (This particular convergence point will be discussed at greater

length below.)
The concept of pitch-based overlap is extended and developed in Rochberg's
Music for the Magic Theater to such an extent that in many cases the commentary
which he inserts between the various quotations succeeds in traversing the path
between the pitch domains of the multiple elements it connects. For instance-, the
newly composed music which is introduced at rehearsal number 3 between the
second Mahler quotation (Ex. 4) and the quotation from Varèse that follows it
(Ex. 5) provides an overlap between these respective excerpts. In this case, the
added link consists of the motives {D,A1>} descending, {Ek,A} ascending and {E,
El·, D} descending in the upper register, all stripped of their rhythmic content.
The ensuing excerpt from Varèse is transposed atTi and slightly altered so that
all the motives appear at exactly the same pitch level. Thus, the added material
emphasises the common descending chromatic trichord in the upper line of both

Ex. 4 Mahler, Symphony No. 9, iv, bar

Theater, i, rehearsal number 2
vu. Bu Γ Γ Γ Γ Γ
... *..f ff f
ff
- k;r"Y"T ι ξ
quotations while introducing the tritonal motive which is essential to the quo-
tation it precedes (both elements are identified with broken-line enclosures).
Fig. 4 interprets the pitch content of the quotations from Mahler and Varèse as
they appear in Music for the Magic Theater through transformation networks
which emphasise the motives discussed above. The enclosed areas of the
example, encompassing pitch classes E, El>, D, A and Ak, illustrate the overlap,
representing the pitch classes common to both excerpts as well as the interleaved
material which links them. The free rhythmic profile of the commentary is
significant because it occurs between sections of music with contrasting rhythmic
and metrical content.
Pitch convergences can also occur on a harmonic level. Ex. 6, taken from the
last movement of Zimmermann's Musique, demonstrates how the superimposed
ostinato bass notes G> and G, drawn from Stockhausen's Klavierstück IX and
Berlioz's Symphonie fantastique respectively, prepare for the oscillation between Ft
and G which dominates most of the Wagner quotation that follows. This {Ft, G}
dyad thus constitutes a harmonic link in the manner of a pedal point which
subsequently serves to connect the numerous ensuing juxtapositions of these
contrasting excerpts.29
Some sophisticated types of pitch convergence are more abstract in kind. For
instance, a special kind of overlap occurs when a single pitch needed to complete
the aggregate in a given section is presented as the first pitch of the following
section. Since the missing pitch has the double role of completing the segment
which has already been set up as well as initiating what is to follow, it functions
conceptually as a convergence point. This technique can also be viewed as a
modulatory process. At rehearsal numbers 1 1-12 in Music for the Magic Theater,
for example, aggregate completion links juxtaposed tonal and atonal passages. A

Ex. 5 Varèse, Déserts, bar 242; excerpt appears slightly mo

position in Music for the Magic Theater, i, rehearsal number 4
«ffz «ffz«ffz
^ ff - ==
h.
11 in Ib TO* * t r |[ Γ |LJ -
r-'Γ _
"■"Uk ix > rTp- p· f~r
La.· > L>
ι v- 's?: a. b#·
τ- ■ Ih - cJr τ r ι
Tblls V:I 3·. .o
PP
s a-
' 3·-
Pno
^ irr- Γ T-f·
λ
^P^p^
ι Λ 9ít' Λ. '>Μ.'
*>·■■ ki > tf ι Λ 9ít' r Λ. f^ '>Μ.'
hocket-like, rhythmically free passage in the woodwinds is followed by a quota-

tion from Mozart's Divertimento. The first passage alludes stylistically to
Rochberg's earlier twelve-note idiom. The only pitch class that is withheld is F,
which appears prominently as the first and uppermost note of the following tonal
quotation. Ex. 7a presents the pitch classes in the order of their appearance
during the hocket-like passage at rehearsal number 1 1, while Ex. 7b presents the
succeeding Mozart Divertimento excerpt. In sum, aggregate completion serves
to bridge the stylistic gap by linking structurally what would otherwise be
perceived as a sharp disjunction due to contrasts in texture, instrumentation,
rhythm, metre and pitch organisation.30

Journal compilation © 2009 Blackwell Publishi
Fig. 4 Transformation network based o

the Magic Theater
Til Tii Tn Tn Tn Tn Tlt Tn
I * / t / // > ' t / //
I Til
1 1 ΓT/
/ I^T,,
/ t *//
χΤί / //
I /r„ ^/ // t '
A
4 -
τ9
-ν I τ9
1 τη τπ Ι τ,, τη
C
Ex.
, J ~; VV;mncr. /)/Ί· ll'ulkiirc. Ad III. h. Ι ^ίί ^
"^ g^ , I I g- I pi' VV;mncr. /)/Ί· ll'u
■""ι1 ] >Ji<f ΜΙΏΙΏΙΏΐ > > J - uJJfflJSJBj > îJ33J

> > > > >>>>^ ^ ^
(»ffff ifTOir irrrr ii
One of the most striking

based overlap occurs with
Music for the Magic The
(labelled W and Z) derive
Rochberg's setting strips aw
eerie, timeless quality whi
B, the last two notes of m
sustaining the initial and f
Bl> at the juncture between
ing as a pivotal element. It
is emphasised in both mot
relates them intervallical
passage of music to the
permeated by this same so

Ex. 7 a Pitch classes shown in order of appearance in Music

rehearsal number 1 1
11 48236 10 917
Ex. 7b Mozart, Divertimento K.

for the Magic Theater, i, rehear
Allegro
Ρ f Ρ
fp mmmm-m,
ρ J * ρ * * ^
^ / ρ
cb- '*H - 'i ' j' rrr'j * * ' -
f&' '· fr m _ _ ι^- PfP ιΓ^-Γ -r ir^^ -

Ι^'ίΓΓ '· fr m * ρ r mir _ _ ι^- cLLT PfP Γ Ί -r τ ir^^ ^^=ι ^ τ -ρ ^^^r -' m _ ι Γ~^^ r r ^^^g
M m ||||M , ^ffr ΓΓΓΓΓΓ "^^^
Ex. 8a Motive from Mahler's Symphony

Magic Theater, i, rehearsal number 7
Motive W ^t j f *[ ^
Ex. 8b Motive from Mahler's Symphony

Magic Theater, i, rehearsal number 7, fo
Motive Z (foîj J j Ρ |J X
/

matic sonority also relates the role of

pivotal chromatic insertion which wi
Textural Dispersall Emergence
As previously mentioned, pitch co

concept of textural dispersal/emerge
this latter principle is pervasively ap
lying Scherzo material and sections w
tions. In general a form of continuum
use of commentary techniques base
other strategies which all but oblit
vestige of its structural profile. At th
be noted as follows: octave displaceme
but also in the violins and flutes),
slightly displaced rhythmic versions o
it and thus create a shimmering qualit
mations of the original thematic m
forms of the expected components,
ations and near-transpositions) and
original instrumentation which enabl
from the original materials where th
mises the process of fragmentation a
the underlying thematic substance is
voices, thereby leaving the original M
tion of other quoted material). The
further extreme serve to displace the
from the musical surface by insertin
other works, chromatic scales and clu
rial maintains an initial relationship t
of structural elements or motives
common to both.
As Ex. 9 indicates, over bars 282-295 of Sinfonia, various sophisticated types
of pitch processes and convergences are applied to effect the impression of the
Mahlerian model gradually retreating from the surface of the music. Here the
primary source text is gradually supplanted by quotations from Ravel's La valse
and a series of chromatic lines deriving from the latter's accompaniment in the
original score (although they do in fact differ in pitch content). Eventually the
Scherzo material is represented only by fragmentary elements in the vocal parts,
while quotations from La valse continue the overall sequence which then culmi-
nates at bar 295 (rehearsal letter O) with a quotation from Richard Strauss's Der
Rosenkavalier.
Ex. 10 isolates the precise pitch convergences which arise between the quoted
segment from Ravel's score (bar 7 after rehearsal number 32) and the underlying
Scherzo in bar 286 of Sinfonia. The quotation from Ravel functions as a way of

Ex. 9 Reductive comparison of Mahler, Scherzo, bars 287-30

iii,bars 285-301
/ - =ZZ. ~ Ζ - - Γ 1 Γ
oywv.vv hervor! rei lui
ff sempre ff
ι '
^',p
Muhk
Ravel. /.</ vw/
■f l ' deVêiõ' "s *M ■*ihler"s"'"i»iir)Viön ϊη" "r'eVröi'i'üle
Mahler's trag, (se lege) Mahler's frag, (solfège)
ί ml 7 , r ;πη 1^; ;
- ^- == - ff ■
Strauss. Der Rosenkuvalicr.
^| Q r
V "f ρ - ===== / jT*=
ffe ™ r #jui# r Γ %~y ^ :=:: ~ ~ ~ ~ J é d y T y - <y »d = Ξ - :

™ LLIicm r #jui# r Γ 1 ^
Mahler frag, (soïi'ège)
Ra'el. /.(/ valse no. SI. b. 6
y ^^fi ^ γ^ι^^γ r ρ ^: ρ Ρι ρ ρ^ ^^^^^^^^^^^ ^^^μ^γ^^^^^ _^^^^^^^^_ ν j ~ ~ z

Mahler frag, (solfège)
|f r π 'γ- "Λ-· Hf If 'ν Ί Ι li X4 IjT I
AÍM5ZC Analysis, 27/ii-iii (2008) © 2009 The Author.

Journal compilation © 2009 Blackwell Publishin
Ex. 10 Isolation of the pitch processes
R ivcl, /.</ JWsv, nu. 32. b 7 (I, ) ;.ct; as a reduction of Mahler's fi
Commentary develops Mahler's figuration be
reducing the simultaneously sounding

values in order to create a gradual dis
removal of Mahler's material. A sim
developmental treatment of the unde
the Mahlerian model, deviates from
beyond its original goal and then pre
accumulating chromatic modification
Chromatic Insertion
Often occurring simultaneously with overlap techniques, chromatic

constitutes another important means by which the borders between
collage materials are blurred. By creating points of pivotal transitio
similarly absorb the pitch language of the surrounding quotations, ch
washes (areas characterised by the saturation of the texture with chromat
or figurations) also fulfil a modulatory function as they fill in the inte
tonal space. Significantly, these chromatic layers often originate in the
that is either the starting point or the goal of the modulatory process.
perhaps, this particular chromatic function finds a direct analogy in the
arts in Max Ernst's usage of line engravings: the lines conceal the joi
elements from different engravings are assembled to create a new pictu
Ex. 1 1 extracts a number of associated strands from the second subsection of
the initial Scherzo quotation in Sinfonia to show how chromatic scales infiltrate
the texture beginning with the first statement of the main theme from La valse
(rehearsal number 32) at bar 77. These scales are initially introduced as the
original accompaniment for the Ravel quotation. However, at bar 81a different
chromatic scale originating from the same pitch as the quoted chromatic mate-
rial is added in the electronic harpsichord. From this point through to the
moment where the modulation reaches its goal with the quotation from Daphnis
et Chloé (bar 88), numerous other chromatic scales may be heard to permeate the
musical surface. Ex. 12 (the material of which overlaps with that of Ex. 11 but
which does not include the chromatic scales) demonstrates how subsequent
pitch-class convergence on G (achieved by transposing the original Daphnis et
Chloé excerpt down a semitone) supports the overall process of chromatic modu-
lation in this section.33 In bars 323-324, by comparison, chromatic scales

Ex. 1 1 Berio, Sinfonia, iii, bars 77-88
Ravel. La valse, no. 32
111
*f - =====
li
-,
„„ (jii - Ξ= - ι - ^==ξ - m
,,.,„„ k Ijn - | - 1 - | - |
1111 ï¥ I " I 1 i " 1 l
1
(y " I ~ I " I " I " I y j j it j J * j =

(^ ~ I ~ I ~ I ~ I ~ Ι "Ξ
Added chromatic lines, c
proceed to realise a modulation fro

Rosenkavalier (Act ΠΙ, five bars after rehearsal number 298) to the eventual
re-establishment of Mahler's thematic material at bar 325 which is in turn
accompanied at bar 327 by a superimposed quotation from Brahms's Symph
No. 4 (fourth movement-, bar 69). Ex. 13 shows the way in which the chrom
scales anticipate the ensuing Brahms component by extracting, juxtaposing
expanding different chromatic layers from it.34
The approach to the climax of the third movement of Sinfonia demonstr
how chromaticism can effect a large-scale modulation that contributes to a
structural moment. As Ex. 14 shows, in Mahler's Scherzo the structural
point is prepared via the convergence of two separate chromatic motions: the

Ex. 11 Continued
Ra'cl. Daplmis el ( liloc. no. 1 76. b. 4
_.. _ ^_ .
mm- -' : ^è -
jy~~~-
chromat
ascen
slowe
this
of hi
musi
tion
16 (E
lines
model. Hence as Exs 14 and 15 together indicate, the pitches of the lowest
chromatic line in the Schoenberg quotation match those in the final descending
chromatic line (in the trombones) in Mahler's piece, while the highest chromatic

The Process of Modulation in Musical Collage 3 1 5
Ex. 12 Berio, Sinfonia, iii, bars 84-91
n . , , ,., Ravel, Duphnis et Chine, no. 176. b. 4
·> # ' ' ' ! i'._pp
: ; pitch-class convergence on G
^ _ ! _ |J-7 Η iJs Ύ | - I? ? A?| - I - I

motivically similar to the Daphnis et C/iloé quotation
: ~~"~~ " j pp
PP * ^^
Mahler. Scherzo, b. 86
^^f^- τΗ= = = =Γ Ι τ^ r^ - =JJd77=
line in the Schoenberg excerpt ascends to the same

the ascending chromatic line in the woodwinds in the
Interestingly, the types of chromatic washes tha
modulation in Berio's Sinfonia find their analogy i
Magic Theater in gestures which are also chromatic
on a smaller scale. For instance, at rehearsal number 12 (discussed above in
connection with Ex. 7a and b), the R which begins the quotation from
Mozart's Divertimento also forms the final pitch of a descending {G, Ft, F}
chromatic trichord. The Ftt, which had appeared earlier in the passage, pro-
vides the only break in an otherwise straightforward unfolding of the total
chromatic.
Semitonal relationships bolstered by symmetrical appearances of the [0 1 2]
trichord occur elsewhere throughout the movement. Ex. 16 demonstrates the
way in which the [012] chromatic trichord {El>, E, F} and its retrograde appear
at the beginning and ending, respectively, of the quoted excerpt from Mozart's
Divertimento (rehearsal number 15). Furthermore, the descending trichord

Ex. 13 Berio, Sinfonia, iii, bars 323-32

Brahms. Symphony No. 4. i'.
pp fp - ;
Ρ ~~ ' ~~~~
111111
.-ik-apsiilalcs Mahlci Ρ
sÊJiîi^
PP ι f JP ' ; ; ; ; |
' W ^^ ^^ ' 'f fP · ; ' · '
^rp
l777"_~7T777T V7 ' 7 "__:___:__! ^ _ j^_
aniiupak-s Bralim> I I
Mahler. Sclici/o. b. 320
Ex. 14 Mahler, Scherzo, bars 463-465
ih"· bfe i*hxj i'r r br| iJ- ι
{D, Ctt, C}, which appears concurrently with the other at the conclusion of this
excerpt, is followed in a strongly contrasting section by the pitches O and D,
thereby creating a retrograde elided trichord, {C, Ct, Dj.This retrograde chro-
matic relationship thus links sections otherwise characterised by abrupt contrasts
in texture, instrumentation, dynamics and pitch organisation.35

Ex. 15 Berio, Sinfonia, iii3 bars 500-502
Sinfonia, b. 500: chromatic approach to the climax ^
300
Upper woodwind WS o ~ ~ 7
T o
tff
jsy __
«y ' Schoenberg, Fünf Orchesterstücke ,

^ΐ-trz «y
[ JSF
Tb,2 >m r τ r br r'^[
jsy
Bsn- vlc- cb-

fff
Rhythmic Plasticity
Rhythmic plasticity is essential to the process of modulation in works of musical
collage and denotes the ways in which the rhythmic profile of the music is
manipulated in order gradually to introduce or to lead away from a quotation. In
Sinfonia, increasing rhythmic complexity often aids the process of modulation
towards an excerpt featuring a faster rhythmic momentum. For instance., at bar
96 (rehearsal letter E3 Ex. 17) the Mahlerian chromatic lines which ended the
previous section subsequently give rise to an added chromatic layer in the first
clarinet, thereby increasing the rhythmic momentum by means of slightly faster
note values. As the example demonstrates, this gesture in turn anticipates the
faster momentum established by the Debussy La mer quotation which ensues in
the solo violin and oboe.
The last movement of Zimmermann's Musique presents another interest-
ing illustration of the use of rhythmic plasticity for modulatory purpose
Overall, this formal unit is characterised by a broad alternation between the
φ metre of the quotation from the fourth movement ('March to the Scaffold')
of Berlioz's Symphonie fantastique and the 9/8 metre of the quotation from
Die Walküre. Ex. 3 (see above) shows the section of music which leads to the

Ex. 16 Mozart, Divertimento Κ. 287, i

Magic Theater^ i, rehearsal numbers 12-14
Allegro
Nnl [feÊiYrEJgCTí Th"pj Η 7^JJ 1 ρΓΓΓΓΓ Ifff * I* ,i J,n|J Ι^|[£1Ι1Γ
3-1 |OI2| lib. K, K} 13,4,5}
Ρ / Ρ "
ν-
kkP'^ï=^mm'
f Ρ rrrlJ > m
3-1 |012| {F,
I«» ^ J> . . retrograde of beginning pitches
ψ^ψψ^βύίίΐ^
f
^
p
J> rf
ir r pr
/ ρ f
ΙΒι> J]J j-jT Γ . =^^

/
^ / ,
3-1 |()12
same pitc
first ful
Plainly Z
than pre
the rhyt
derives f
notes of
type of r
inserting
tions wh
In Rochb
Mahler's
rehearsal
presentat
original
horn an
the entir
sure). Sim
play mat
layers ar

i- I
•2
s
I·
CO
to
PQ
I>
τ- I

Ex. 18 Mahler, Symphony No. 9, i, ba

Magic Theater, i, rehearsal numbers 2
Plöl/Iieh bedeutend langsamer ( I onto) und leise
b W
•J i < f < < f t
^^ i ( , .VI [OI2| {K. Kb. 0} |2,3,4}
ί '' 3-1 |OI2| {,'jf, B, C } {10, 11.0}
(b ^^~ 1 " ΞΞΞ=*^Η [jj*^y- ρ? 1 ">rcil(l<> I " 1
/ '·<νν J» .v»/./V„ '
tf Ρ sulnln -^
fi %m. fi ^Ê. ^ - ' /^~m. '■■ ^lnl- 3-1 |012| {K, Kb, I)} {2,3,4} '
" ' " ' ^ v ' " * '' Ir ** '
shown in the example). These superim

textural dispersal which phases out th
texture and intervallic content as well
develops to a climax by both expanding
high point. Furthermore, a newly compo
the motivic material of the bass in the
deviate from it, incorporating wider l
original bass line and the flute line prio
recapitulation of the opening material im
The reprise is prepared by virtue of the
tions of the [012] trichord which itself d
Exs 4 and 18). The flute's approach to its
26 outlines the trichord {C, B, Bl>} . T

Ex. 19 Berio, Sinfonia, iii, bars 166-186, compared with Mahler, Scherzo bars
168-188
m
J r F f y r τ ΓΤΊ* ^γτ ^ γ ht r^ r Γ Γ [___ Γ
-
1 j
ι » 1 J j J 1
ι - » mm ^ΗττπττιΗ rm I j J J "h r ι I lJ
J^ "m ^t y ^l__l 1 ^ il j ι ι r y J l^^^j J "^ ^^^^^S3^^^^**l ^^^^^"^t^^^^t ~^^^^^1 li^
llctcrophonic treat lent of MhIiIlm
c
t
i
s
t
s
classes.37
A clear illustration of all three techniques being applied concurrently for
modulatory purposes occurs in the section which corresponds to the first
Scherzo reprise in the third movement of Sinfonia (bars 147-187). In the passage
through to bar 170, a transition is effected between Mahler's Scherzo and a
full-texture quotation from Stravinsky's Le sacre du printemps ('Danse de la terre',
beginning in the eleventh bar after rehearsal number 75). Ex. 19 compares
Berio's score with the underlying material from Mahler's Scherzo. It demon-
strates how rhythmic plasticity and added chromatic layers combine to saturate

Ex. 19 Continued
ff^$=Ë^=^m ;^^ι L r j ι r I *r7""^ 1 r f f γ ν r I
n^r^r-^^^^-£^^bLj!-^_r =r φψ=r1φψIJ1 ηr IJ
n^r^r-^^^^-£^^bLj!-^_r ι j ιμ^Ξί-^ΓΠ ΓΞΓ^Γ
; ΓΞΓ^Γrj r
j JrJr' J
rj j=
=- J ^fc^ - j- -J-^= sî r- ^- J J : J γ ρ _ ; ^J=y=; !l ^ ;

fj^ffl^p =- ^fc^ - j- f r- φ | j : » γ M1 ρ rf^ _ ; ^J=y=; | f j !l ί ψ ^ ;
III F^ M^^ ~ *^^ ~ ~~BBHBQ|^ L~^ p^ ι ^ ■ [^ _^ il Ι τ Γ^ Ι ί
t" Γ^^Τ Ι ^ ρ *| Î_f__r ~r U ^ ^ ^^^^^^^T
""
'îf f ρ ir rffr
Str;i'insk>. /c m/< /v «/// printem
the texture imm

166. Rhythmic pl
by staves 2 and
string parts. The
to an acceleration
prior to the quota
is made palpable b
the first violin at
third violins on t
Furthermore, in bar 169, as Ex. 20 demonstrates, an accelerated and highly
chromaticised version of the Mahlerian figuration in the saxophone and
second violin forms a further bridge linking the Scherzo to the fabric of
Le sacre?*
At first, the quotation from Le sacre appears to have completely displaced its
Mahlerian precursor, but from bar 178 there then follows a bar-by-bar alterna-

Ex. 19 Continued
Γ(ι ^
y τ ir." ^
Λζ_ hi. m ' ' *J II" ^^^^^| ι I I _l î it ii φ L·^ 0 Ρ ' ' | ' m _i nJ ^
Ρ ** - ==z z=~ pp
mf r γ
í if t ΐ ι E___£- - F iîf t ΐ ι L-i
-4 - 7 -^^^ !^^~ ι^^^^ίΓ^^ ^^^~ J^ ^ -^^~ ΐΐΓ^Π iff^l "Jlti «^^

fe m m m m ΡΡΓ^Γ Y Γ Γ F Γ Ρ Ι* Γ Γ Γ Γ Γ Γ » »*¥~ ff V Ρ Ρ Γ Γ Γ Γ f~F~ Γ Γ f Ρ Γ m m mm
•J m Ct^ m m m u^í^^j ^ ^^ím^j ^ ι^^^π^τ » π λ/ ^ ^ Γ ^ ^ ί^ m m mm mm Q * ·
MJJM|,J^ !^^7^7 g.CTtt-^R|"^ !^?^^^7
tion between the two. Eventually the Mahlerian material regains pr

passage which ostensibly oscillates between the two excerpts convi
onstrates the importance of pitch convergence in the process o
Hence in bar 179-, the C to which the Mahlerian aspect should
introduces the Stravinsky fragment on that pitch as indicated by t
enclosures. Pitch classes C and G continue to be important common tones
linking the underlying Scherzo with Le sacre's climactic chords in bars 181-183.
In both excerpts., these three bars exploit both pitch classes as outer registrai
extremes., with C remaining in the bass and G in the uppermost voice.39 In truth.,
the G that initiates the flute part at bar 183 and which brings Mahler's thematic
material back to the foreground is anticipated by the G an octave higher in the
piccolo in the Stravinsky material. Since the rhythmic and durational profile of
Mahler's Scherzo is preserved throughout this whole section., the Stravinsky
excerpts are made to appear as discontinuous fragments which nonetheless
fulfil a connecting function. A temporary modulation to the sound world of
Stravinsky's Le sacre is thus achieved through the use of textural overlap sup-

Ex. 19 Continued
j d j -ι- ι j - :.j ^ j i°n j> „ . κ - „ -
/
Pitch cointimnce on ( ι
■ :
_|L_^=:^==:^ ■ : f -T| f τ τ = τ τ , ^ ^^ ρ r Γ
/
■y çflft
BBB 1^ ^ Ρ ~te^ ^^ ^ ^
^^ _
^^- ^^^^P ^^ _ - J> ^-J*T^
hcluccn /r s,/, ;, ;ιικΙ the Scher/o ..„..."!".".".".".".'
Stra'msk'. climactic chords, b. 7S
ported by specific pitch convergences. However, the structural primacy of the

Scherzo is always maintained in the background.
Interpreting Musical Collage

Overall., these various illustrations may be understood to confirm the ways in
which the techniques of overlap, chromatic insertion and rhythmic plasticity are
capable of fashioning convincing links between disparate source materials.
Indeed, these techniques interact to traverse the space between contrasting
musical languages, creating relationships which are akin to the sophisticated
types of modulatory techniques that operate in tonal music on both local and
large-scale levels. The variety and scope of the examples reflects the temporal and
stylistic gaps which exist among these three pieces. However, the fact that the
different practices can be grouped into categories which are conceptually analo-
gous establishes a theoretical foundation for understanding the musical language
of the collage repertoire, thus providing insight into a seminal aspect of this
compositional approach.

Ex. 19 Continued
PPP
pitch-class convergence on C
^=fcÍE= ^ Ξ == ^t= y Ί ΞΞψ ===== =
tffk
■ ι , .1
'Τ j ΐ Γ 7 7 Ι y Ι
Mahler fragment Stravinsky, last bar
Ex. 20 Comparison of Mahler, Scherzo, bars 170-172 with Berio, Sinfonia,

168-170
Scherzo
170
PPPP ρ
Sinfonia, mvt 3
168 ^ ? j ^"^'^

This much said, the numerous point

be taken to imply that the music is
necessarily determines the experien
clearly constitutes one of the irred
This study demonstrates, however, that disjunction is not an inescapable
by-product of the incorporation of disparate materials. Instead, composers can,
using a variety of techniques, weld borrowed materials together to create new
continuities. As the three pieces examined here have shown, the degree of
disjunction which results can vary widely, even within a single piece, depending
on how the composer chooses to deploy such strategies.
In Ex. 1, for example, there is no formal junction to mark the incorporation of
borrowed materials in the Berio Sinfonia, Instead, the smoothness of the transi-
tion and the rapid re-establishment of the Scherzo lend the overlaid quotations
a fleeting and elusive quality. The concomitant effect is one of catching glimpses
of familiar sonic images which slip in and out of audible focus as the listener is
carried unrelentingly forwards by the Scherzo. The lack of disjunction, con-
trasted with the multiplicity of referential meanings, creates a deeper and more
conceptual level of juxtaposition essential to the work's effect.
In Ex. 3, conversely, the single pitch class Ai acts as a climactic convergence
point between two completely unrelated quotations in bars 79-80 of
Zimmermann's Musique pour les soupers du Roi Ubu: the main brass theme from
Wagner's Die Walküre and the full-texture Bl> major fanfare from the fourth
movement of Berlioz's Symphonie fantastique,41 As Fig. 3 further outlined, the
introduction to Musique (bars 1-65) features the juxtaposition of introductory
material from Die Walküre (the introductory semitonal oscillation theme) and
material from Symphonie fantastique (the introductory timpani roll from the
fourth movement superimposed over a relentless ostinato chord from
Stockhausen's Klavierstück IX). The introduction ends with the appearance in
bar 66 of the main theme from Wagner's piece. This initiates the main body of the
movement (Y), which begins with the superimposition of all the previously
juxtaposed sources. At bar 76, coinciding with the culmination of the main
theme of the Wagner quotation, the process of layering reaches its high point with
the introduction of an additional layer of material: the quotation of the Dies irae
as it appears in the last movement of Symphonie fantastique.42 When the brass
theme from Die Walküre reaches Alt, a clear formal juncture occurs as the trium-
phant forte B'> major brass fanfare from Symphonie fantastique takes over.43 The
effect of the convergence in this case is thus not to create continuity; because of
the strictly alternating pattern which has been set up, the listener will recognise
(and might even expect) the arrival point, but he or she is unlikely, at least on first
hearing, to anticipate the manner of arrival. The role of the convergence point is
therefore to link the ostensibly incompatible and in this way to achieve a level of
almost ironic incongruity.
One of the premises of this article is that new continuities and overall struc-
tural cohesion do not of themselves serve to contradict the key aesthetic premise

of works of musical collage. The level of disjunction which

aspect of these pieces should never be viewed as second
structural framework. Instead, the interaction of a disjunct surface with its
underlying structure - the very contrast between clear elements of continuity and
the multiplicity of references and connotations invoked - provides yet one more
level of juxtaposition, which remains intrinsic to the significance of collage. The
expressive content of these works is based on varying levels of disjunction, which
together embody the nature of the relationship between the borrowed material
and the context within which it is introduced and thus constitute the precise
polyvalent nature of this repertoire. These planes of discontinuity are moderated
by the techniques of modulation described above. As I have argued elsewhere,
the postmodernism of these works correspondingly 'lies not in the way that they
deny traditional notions of unity, but in the way they call it into question'
(Losada 2009). 44 Whether the types of continuities and techniques of interrela-
tion which occur in these works are at the same time reflective of modernist
influence owing to their chronological and conceptual proximity to a prior
creative epoch, or whether such continuities themselves remain operative in lat
postmodern compositions are issues which invite future exploration.
NOTES
I would like to thank Ellie Hisama, Philip Lambert, Andrew Mead, Matthew
Santa and Joseph Straus for their helpful feedback on earlier drafts of this article.
Copyright clearance for musical examples was secured from the following
sources: Berio, Sinfonia. ©1968 Universal Edition A.G., Vienna. © renewed. All
Rights Reserved. Used by permission of European American Music Distributors
LLC, sole U.S. and Canadian agent for Universal Edition; Mahler, Symphony
No. 2. ©1971 Universal Edition, A.G., Vienna. © renewed. All Rights Reserved.
Used by permission of European American Music Distributors LLC, U.S. and
Canadian agent for Schott Musik International; Varèse, Déserts. © Universal
Music Publishing Ricordi. Reproduced by kind permission of Universal Music
MGB Publication, via Liguria 4, Fraz. Sesto Ulteriano, San Giuliano Milanese
MI, Italy; and Zimmermann, Musique pour les soupers du Roi Ubu. ©1967
Bärenreiter- Verlag. Used by permission.
1 . The music written since the 1 960s that incorporates borrowed materials constitutes
a wide and diverse repertoire. There is a distinction to be drawn between works
which employ quotation and those which incorporate stylistic allusion without
using actual quoted material. Furthermore, it is important to acknowledge a full
range of possibilities in the quantity of different components which may be juxta-
posed and the level of contrast which results. In Losada (2004), I propose a
preliminary typology as follows: (1) structural features of earlier compositions are
incorporated without actual quotation (for example, Peter Maxwell Davies's
Fantasias (1962, 1964) and String Quartet (1961); (2) quotations fuse into the
prevailing style where the musical languages are closely related (for instance, Dmitri
Shostakovich's Symphony No. 15 (1971) and Michael Tippett's Symphony No. 3

(1972); (3) stylistic allusion, with or wi

Concerto Grosso No. 1 (1977) and Strin
a limited number of sources (for instan
(1970) and Vox Balaenae (1971), or Lukas Foss's Baroque Variations (1967); (5)
sources which include sounds and noises from everyday life, often randomly
assembled (for example John Cage's Williams Mix, Fontana Mix (1958) and
Europera (1988); (6) electronic collage, where either the sources or the connective
elements are produced synthetically (for instance, Karlheinz Stockhausen' s Hymnen
(1966-7), Telemusik (1966) and Kurzwellen (1968-70); (7) quotation for theatrical
impact (such as Luciano Berio's Opera (1960-70, rev. 1977) and Recital I (1972),
and Cage's Variations V (1965) and IV (1963) - this category also includes instances
which predate the practices of the 1960s, such as Spike Jones's musical comedy of
the 1930s and 1940s, Peter Schickele's P. D. Q. Bach work of the 1950s and 1960s
and the cartoon music written by Carl Stalling for Warner Brothers between the
1930s and 1950s; (8) recompositions or additions to a specific piece (for example,
Schnittke's Concerto Grosso No. 4/Symphony No. 5 (1988) or Berio's Rendering
(1988-90); and (9) collage per se, the focus of the present study. My sense of the
term 'collage' conforms to the definition given in Burkholder (2001b), p. 110: 'the
juxtaposition of multiple quotations, styles or textures so that each element main-
tains its individuality and the elements are perceived as excerpted from many
sources and arranged together, rather than sharing common origins .... Elements
in a collage often differ in key, timbre, texture, metre or tempo, and lack of fit is an
important factor in preserving the individuality of each and conveying the impres-
sion of a diverse assemblage'.
2. Morgan (1991), p. 411, identifies the frequent transformation of the quoted mate-
rial itself through distortion as an additional distinctive feature.
3. On the notion of connotation see, for example, Ringer (1966), Flynn (1975), Hicks
(1981-2), Dixon (1992) and Metzer (2003). On motivic correspondence see, for
instance, Budde (1972b), Altmann (1977), Reise (1980-81), Adams (1983) and
Danuser (1988) and (1990).
4. See, for example, Osmond-Smith (1985), Klüppelholz (1981), Adams (1983),

Kühn (1978), Kiesewetter (1985) and Roeder (2006). Works which incorporate
multiple quotations have been subjected to scrutiny as a unified body in the work
of Robinson (1994). However, the only link she posits between the processes
described in her analyses is a reliance on procedures and techniques which can be
traced back to Mahler.
5. The meaning of the term 'modulation' has changed radically over time. Within the
context of tonal music, modern usage tends to equate it with a change of key. This
definition is relatively new; for further discussion see Mitchell (1979), Reilly (1985),
Kramer (1985) and Blumroder (1993), among others. Kramer (1985), pp. 574-6,
states that 'in the Classical style, modulation means tension and formal discord. The
act of modulation is costumed, choreographed, and dramatized in all the ways
convenient to the style'. On the perceived need to reconcile the resulting contrasts,
Kramer (1985, p. 573, n. 15) also cites Forkel: 'It is not enough to make a bold
move. One must know how to do it with assurance and, in addition, how to retreat
from it ... in an acceptable manner .... One must feel confidently in control and be
master of all possible means, in order to extricate oneself ... in the best way from a
labyrinth into which one has gotten entangled due to boldness; and the listener

must not be led to know the difficulties that it has cost to

nicht genug, einen kühnen Schritt zu thun, man muss i
können, und sich noch ausserdem mit einer guten Art wieder zurückzuziehen
wissen .... Man muss Kräfte in sich fühlen, und aller möglichen Mittel mächtig
seyn, um sich mit der besten Art aus einem Labyrinthe, in welchem man sich durch
Kühnheit verwickelt hat, wiederum herauszuwickeln, und man muss dem Zuhörer
kaum merken lassen, dass es Mühe gekostet hat, wiederum herauszukommen'
(Forkel 1964, pp. 288-9). The specific application of the concept to music com-
posed after 1950 has a number of precedents. Cope (2001, p. 213), refers to it as an
electroacoustic process 'in which any aspect of a sound or signal [may be] ... varied
continuously'. Most interestingly, perhaps, Stockhausen (1971, p. 80) uses the term
to describe the ways in which, in order to achieve a shift, elements of one source can
be modulated by elements of another: 'Der alte Begriff des "Modulierens", des
Wechseins in andere Tonarten, wird hier auf Stile angewendet. Ich moduliere von
einem musikalischen Ereignis in ein anderes, beziehungsweise ich moduliere ein
Ereignis mit einem anderen, wie ich es aus den Erfahrungen der jüngsten Zeit
gelernt habe' ('The old concept of "modulation", the changing into other keys, is
applied here to styles. I modulate from one musical event to another, or rather I
modulate one event with another, as I have learned from the experiences of the most
recent past'; my translation).
6. An excellent overview of the concept of borrowing may be found in Burkholder

(2001a).
7. These examples are among those put forward in Schwartz and Godfrey (1993,
p. 242).
8. See Burkholder (2001b). Examples include 'Biber's programmatic ensemble sonata

Battalia (1673) [which] represents soldiers before a battle by means of a quodlibet of
eight folksongs in five different keys' (p. Ill); 'the Act 1 finale of Mozart's Don
Giovanni (1787) [which] has three onstage bands playing a minuet, contredanse and
waltz simultaneously' (p. 110); Strauss's Ein Heldenleben (1897-8), which inter-
weaves a 'counterpoint ... of themes from his own works' (p. 110); and
Mahler's symphonies, with their use of dances, marches and folk songs. With
regard to Mahler's particular precedent, see also Kneif (1973) and Dömling (1972).
9. Prompting Watkins (1994b, p. 424) to conclude that 'continuity between the

Modern and the Postmodern may be as operative as severance'.
10. In Losada (2004) I list a range of defining factors for the development of the
practice of musical collage construction as follows: (1) the early music movement of
the 1960s, illustrating a renewal of interest in the music of the past by scholars,
performers and composers; (2) the increased attention paid to the music of Mahler
and Ives and to eclecticism in general; (3) trends in theatre, which prompted some
of the first uses of collage in music; (4) film and cartoon music; (5) electronic music,
including use of the tape recorder and splicing, which facilitates an exact counter-
part to collage in the visual arts; (6) postmodernity: the barrage of information and
musical styles encountered on a daily basis in modern society and the resulting
desire to create musical analogues for the multiple sensory bombardments of the
world; (7) the textural disjunction common in the music of Stravinsky, in pieces
using chance procedures, electronic music, film music and music to which we are
exposed in daily life; (8) the alienation between composer and audience resulting

from the role of the canonic repertoir

of musicians; (9) a wish to reconcile tonal and atonal musical languages; (10)
accessibility to all kinds of music made available by the recording industry; (11) a
negative reaction to the complete control of structure denoted by the concept of
total serialism; and (12) the civil rights movement of the 1960s and the perception
of the other as an equal.
11. Ringer (1966), p. 416, and Morgan (1991), p. 412, have argued that quotations can
be seen as prefabricated material capable of being reconfigured in ways analogous
to those through which composers previously made use of the twelve-note row.
Morgan states: 'Quotation technique and serialism may seem far removed from
each other, yet they share at least one essential attribute: in both, the composer
begins the compositional process with "pre-formed" material already at hand and
manipulates it through various combinatorial and permutational methods. (Most of
the earliest composers to turn to quotation in the 1960s had serial origins)'. For a
more detailed exploration of the influence of serial technique on the three works
under consideration here, see Losada (2009).
12. As noted by Budde (1972a), p. 31, and Burkholder (2001b), p. 1 1 1, the application
of the term 'collage' to this music is partially due to Zimmermann, who did much
to popularise the term. Aside from Musique pour les soupers du Roi Ubu, works by
Zimmermann which fall under the heading of musical collage include Die Soldaten
(1958-64), Monologe (1960-4), Présence (1961), Antiphonen (1962) and Photoptosis
(1968).
13. See Konoid (1986), p. 39, and Zimmermann (1974). Hiekel (1995) discusses ways
in which the influence of the surrealist poets and painters, in particular the work of
Max Ernst, became an important factor in the development of Zimmermann's
musical language.
14. Apart from Music for the Magic Theater, other collage works by Rochberg include
Contra mortem et tempus (1965) and the Symphony No. 3 (1968). For more infor-
mation on the motivation behind this stylistic shift, see Rochberg (1972) and
(1984), and Dixon (1992).
15. See also Ringer (1966), pp. 410-11.
16. For a discussion of Berio's approach to serialism, see Osmond-Smith (1991),

pp. 6-10, and Priore (2008).
17. See Berio (1996).
18. In addition to Sinfonia, Berio's other collage works include Questo vuol dire ehe
(1969).
19. See Reilly (2002), pp. 8-12.
20. See, for example, Foster (1983) and Kaplan (1988), p. 1.

21. Jameson (1988, p. 17), states that 'the modernist aesthetic is in some way organi-
cally linked to the conception of a unique self and private identity, a unique
personality and individuality, which can be expected to generate its own unique
vision of the world and to forge its own unique, unmistakable style'. Harvey (1989),
p. 45, posits the 'rejection of meta-narratives as one important factor that sets
(postmodernism) apart from modernism'. Kramer (1995), p. 21, argues that the

great meta-narrative in music is organic unity. Thus, the reje

which the surface of these collage works explicitly projec
aspect which has earned them the designation of postmoder
22. See Kaplan (1988), p. 3, and Jameson (1988), pp. 26-7. Bot
28) and Kaplan (pp. 3-5) go on to discuss the concept of p
related to the new circumstances of social production and co
in the 1960s as much as to the content of a work of art in itself.
23. The term 'unification' implies the existence of cohesive relationships among all
parts, whereas the term 'continuity' traditionally implies a specific condition in
which the temporal aspect is deemed essential to the structure of the relationships.
Kramer (1995, p. 23) has defined discontinuous music as that which is ' "epi-
sodic" ' and ' "lack[s] ... development" '. However, this characterisation only
invokes one kind of continuity. Arguably, continuity can operate just as decisively in
other realms besides the temporal.
24. See McCredie and Rothärmel (2001), p. 838.
25. See Kiesewetter (1985), p. 29.
26. The relationship between these techniques and Roeder's (2006) discussion of
continuities in the music of Thomas Adès, which emphasises the importance
of parsimonious voice-leading and temporal processes, itself invites further
consideration.
27. One way in which the overlap between layers of juxtaposed or superimposed
quotations was intended to function as a modulation is explicitly addressed in the
composer's own remarks on Music for the Magic Theater: 'The technical problem I
posed for myself was how to move from one epoch to another, how to "modulate"
from one musical syntax to another without creating a pastiche of "styles". Part of
the solution was to pit these different levels against each other, successively and
simultaneously. This in turn raised problems having to do with handling different
times, different speeds. I have worked close to the edge of disorder and chaos to
create "perceptual dissonance" in order that passages or sections not made up of
contradictory elements may then emerge with utmost aural clarity, i. e. , "perceptual
consonance" ' (quoted in Dixon 1992, p. 93).
28. See Osmond-Smith (1985), pp. 49-59.
29. A further harmonic link is achieved here by the retrospective enharmonic reinter-
pretation of Berlioz's Bl> as an Ai leading note within the Β minor tonality of the
Wagner quotation. It is also worth observing that convergence on pitches which
most strongly determine the tonality of the Scherzo (in particular C and G) remains
prevalent throughout the movement.
30. The completion of the aggregate by the first pitch of a contrasting section occurs
also at rehearsal numbers 2-4 and rehearsal numbers 20-2 1 .
31. Watkins (1994a) notes that the disparate elements in this piece are unified by the
mutual use of the 3-1 [012] chromatic trichord, and suggests that this feature w
first pointed out by Rochberg himself.
32. See Janis and Blesh (1967), p. 99.

33. A larger-scale motivic parallel (bracke

excerpt to the figuration from Mahler
significance of this more conceptual ty
modulation.
34. Another example of chromatic insertion stemming from chromatic sonorities within
one of the quoted sources was presented in Ex. 9. In other sections of the Sinfonia,
chromatic washes are incorporated which are not necessarily related to the accom-
panying quotation, but which still facilitate a conceptual link between disparate
musical languages. For example, in bars 114-118, as fragmentary quotations from
La valse permeate the texture alternating with fragments of Mahler's Scherzo,
chromatic washes in the keyboard instruments introduce the specific quotation
(rehearsal number 38, bar 10) which leads to the ending of the section and a
temporary dramatic high point.
35. Due to permission to present reproductions of Rochberg' s score being withheld, the
section of music which contains the retrograde trichord does not appear in the
example. An analogous instance in fact occurs between rehearsal numbers 19 and
20 where the {F, E, El»} trichord which ends the allusion to Varèse (rehearsal
number 1 9) is followed by the pitches F, Ε and F at the beginning of the Mozart
quotation (rehearsal number 20).
36. Another good example involves the metrically distorted quotations from Wagner's
Die Meistersinger (Vorspiel, bar 158), and Bach's Brandenburg Concerto No. 1 (first
movement, bar 15), which occur simultaneously in the second movement of
Musique ('Mère Ubu et ses gardes').
37. This motion is accompanied by an explicit reference to the other chromatic tri-
chords which were featured at the opening. The trichord {C, B, Bl>} appears in the
flute line. Furthermore, the trichord {A, Al>, G} is restated following the excerpts
represented in the example.
38. Interestingly, the gamut of the chromatic scales itself emphasises the register of the
Stravinsky quote which is the goal of this section. Details of orchestration are also
essential to the process because at many points throughout the piece the chromatic
lines begin in the added instruments (those not included in Mahler's original) but
eventually proceed to permeate the whole string texture, gradually upsetting the
overall instrumental balance between the original source and its host text.
39. The example also demonstrates how these three bars in the Mahler excerpt outline
a i-viiWS-3-i progression in C minor.
40. Kramer (1995, p. 14) warns that 'there is always a handy analytical method available
to demonstrate how (if not that) the music coheres. All we need do is try hard
enough, bend the piece or the method sufficiently, or ignore disunifying factors, in
order for the piece to come out unified. Both listening and analyzing create as well
as discover unity. But is that unity really in the music?'
41. For a related discussion of this movement, see Losada (2009).
42. The accompaniment to the quotation of the Dies irae clearly draws from the
accompaniment in the original source (especially in terms of rhythmic profile due
to the emphasised upbeats). However, in terms of pitch organisation the accompa-
niment notes clearly derive from the Klavierstück IX chords.

43. Elsewhere (Losada 2009) I have argued that the appearanc

the theme from Symphonie fantastique fulfils the expectation
beginning of the movement by the timpani drum roll, which is
by the various interjections of material taken from Die Walkür
44. See Losada (2009).
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ABSTRACT
By exploiting the multivalent implications attendant on principl

disjunction and juxtaposition, musical collage works of the 19
analogues in the visual arts and literature, call into question trad
of unity. However, these compositions also incorporate new mod
which lend a distinctive expressive force to music of this kind. Th
outlines organisational precepts which composers including L
George Rochberg and Bernd Alois Zimmermann have used to
of syntactic mediation: overlap, chromatic insertion and rhythmi
common occurrence of these principles in works exhibiting w
stylistic predispositions indicates that they may constitute impo
aspects of this particular repertoire.


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The Process of Modulation in Musical Collage

Author(s): CATHERINE LOSADA

The Process of Modulation in Musical Collage

The practice of quotation proliferated in the musical language o

Music Analysis, 27/ii-iii (2008) 295

specific image or reference (as in the

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

present and future.13 Rochberg, on the other hand,

Music Analysis, 27/ii-iii (2008) © 2009 The Author.

however, the formal structure of all t

-2 +1 +6+22 -9 -2 Λ +21 +1 -15 Λ -10

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

formal subdivisions. Thematic reference to the Scherzo a

Music Analysis, 27/ii-iii (2008) © 2009 The Author.

Fig. 2 Formal structure of the first m

^ >, · c£ ß g Ç Ç g >» J >> Ç c£

/titlül UîllîïLtl it'll!

^A^TÍaC DEBDADBE F ABDAC

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

Fig. 3 Formal structure of Musique pour les soupers du Roi U

Α Β Α Β Α Β Α Β' Af Β'Α' Β' Af Bf

these dance pieces. Thus, the Renaissance suite provides the mo

Music Analysis, 27/ii-iii (2008) © 2009 The Author.

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

Ex. 1 Reduction of Berio, Sinfonia, iii, bars 125-132

I Berlioz. Symphonie fantastique, b. 157/fe^- s „

Ravel. /.</ i'«/.vt'. no. 39. b. 5 u_ ^ s ^

|~j ~) j^' jl ^^ jjjwr~ ~~ ^^^^^^J ^^yl^^l ~~ |j *J w w ^ ^ ^ - j^ - Ι ι ~~~^^^j^*~ | - - ^^^^~-

V " altered Berlioz, b. 156

U π ' ~^~~~~^ ι j|»^ 'I I J ^^^^*^s. [Λ ι I ' L ^ I 1

i!RP- === J> ppp ff

Mahler, Sch τζο. b. 127

Ex. 2 Berio., Sin

Berlioz, Symphonie fan

rTQ f S^., ι ff |f~^ft J . fTÎFr .1 _ 1 _ I

•^ ^" (t9, fl 1.-2)

pitch convergence "y

Timp. Ν |Jl7 7Ρ ^7 7 IJ-.7 7 |^7 7 |Jw 7 | Jh 7 |bp 7 7 | Jm 7 1

Music Analysis, 27/ii-iii (2008) © 2009 The Author.

Ex. 3 Zimmermann, Musique pour les

..»: |*»B~flfl"^JjJj J JTH

correspondence (the ordered pitch intervals of both excerpts are identical, t

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

ΑΛΛΑΛΛ ΛΛΑΛΑΑ ΑΑΑΛΛΛ ff

that follows. (This particular convergence point will be discussed at greater

Music Analysis, 27/ii-iii (2008) © 2009 The Author.

Ex. 4 Mahler, Symphony No. 9, iv, bar

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

Ex. 5 Varèse, Déserts, bar 242; excerpt appears slightly mo

*>·■■ ki > tf ι Λ 9ít' r Λ. f^ '>Μ.'

hocket-like, rhythmically free passage in the woodwinds is followed by a quota-

Music Analysis, 27/ii-iii (2008) © 2009 The Author.

Fig. 4 Transformation network based o

Til Tii Tn Tn Tn Tn Tlt Tn

, J ~; VV;mncr. /)/Ί· ll'ulkiirc. Ad III. h. Ι ^ίί ^

"^ g^ , I I g- I pi' VV;mncr. /)/Ί· ll'u

■""ι1 ] >Ji<f ΜΙΏΙΏΙΏΐ > > J - uJJfflJSJBj > îJ33J

(»ffff ifTOir irrrr ii

One of the most striking

© 2009 The Author. Music Analysis, 27/ii-iii (2008)

Ex. 7 a Pitch classes shown in order of appearance in Music

Ex. 7b Mozart, Divertimento K.

f&' '· fr m _ _ ι^- PfP ιΓ^-Γ -r ir^^ -

M m ||||M , ^ffr ΓΓΓΓΓΓ "^^^

|~j ~) j^' jl ^^ jjjwr~ ^^^^^^J ^^yl^^l |j J w w ^ ^ ^ - j^ - Ι ι ~~~^^^j^~ | - - ^^^^~-

■f l ' deVêiõ' "s M ■ihler"s"'"i»iir)Viön ϊη" "r'eVröi'i'üle

l777"_~7T777T V7 ' 7 ":_:__! ^ _ j^_

(b ^^~ 1 " ΞΞΞ=^Η [jj^y- ρ? 1 ">rcil(l<> I " 1