How Composers Use Cells
Vložit
- čas přidán 17. 08. 2016
- A look at a 20th century technique.
This was a viewer question! If you've got one, leave a comment, shoot me a message through CZcams, or use the email/Tumblr links below.
----------
Classical Nerd is a weekly video series covering music history, theoretical concepts, and techniques, hosted by composer, pianist, and music history aficionado Thomas Little.
----------
Music:
- Thomas Little: Gossamer Limerence, Op. 9b, performed by Wooram Kwon and Thomas Little
- Thomas Little: Dance! #2 in E minor, Op. 1 No. 2, performed by Rachel Fellows, Michael King, and Bruce Tippette
----------
Contact Information:
Questions and comments can be directed to:
nerdofclassical [at] gmail.com
Tumblr:
classical-nerd.tumblr.com
----------
All images and audio in this video are for educational purposes only and are not intended as copyright infringement. If you have a copyright concern, please contact me using the above information. - Hudba
I enjoyed this episode as usual man, Bartok happens to be a composer that has had a great impact on me, the cell concept has unsurprisingly creeped into my own music too
Thank you for doing this request!
Cool beans. Would you consider doing a video on Conlon Nancarrow? He's one of my all time favorites
Duly noted: lentovivace.com/classicalnerd.html
Can you do a video on the music of Jörg Widmann?
I have heard of the Fate Motif being what Beethoven used throughout his fifth symphony to integrate all the movements. But according to your video on cells, it seems to be that that pattern of Short Short Short Long with a descending third is a cell and not really a motif.
It really just depends on the era of music! 20th century composers like Bartók were more analytically driven and the cell content would contain elements of rhythm and pitch. In a Romantic sense, "motif" is more appropriate because it comes back in so many different ways-that, and he only really uses the one motif to build a lot of different stuff, whereas Bartók might have a palette of several different cells that he'd mix and match.
Beethoven was also a real pioneer in building and expanding development sections, and so he'd take small motives and build these huge, complex designs out of them. Bartók's music isn't know for doing this much, if at all.
I love your videos. Please do one on Luciano berio!
Duly noted: lentovivace.com/classicalnerd.html
Can you do a video on Debussy?
Absolutely! However, as I've mentioned to other requests, the queue is very full so it might be quite a while.
Before watching this video I may have confused cells with motifs all this time.
It's not hard to get them mixed; the lines between cells and motifs are especially blurry in 20th-century analysis.
+Classical Nerd Well thank you for clearing it up for me.
Aren't motifs just like more restricted, accurate and defined cells?