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With this brave new book,James McHard pulls away allthe negativity shrouding theword "modern" in the realm ofclassical music. Through askilled analysis of prominentcomposers from 1890 to thepresent, along with theirmusical styles, philosophies,and incentives, McHardreveals modern music as the"fully enriched and enrichinglistening experience" that it is.

". . . Both as a scholar and asa composer I want to thankyou for the extraordinary workyou have done on your book .. . Your research shows a veryoriginal attempt for therecovery of the notion"Modern" in music . . ."

--Julio Estrada, Professor ofAdvanced Composition atUNAM (Universidad Autonomade Mexico) Member of theInstitute of Aesthetics,Composer

" . . . Each composer that youstudy took the hard route,making music that wasuniquely his own. Thus, notonly is your book a lesson inmusical history; it is also a

The State of Modern Music

Today’s practitioners of what we once called "modern" musicare finding themselves to be suddenly alone. A bewilderingbacklash is set against any music making that requires thedisciplines and tools of research for its genesis. Stories now circulate that amplify and magnify this troublesome trend. It oncewas that one could not even approach a major music school inthe US unless well prepared to bear the commandments andtenets of serialism. When one hears now of professorsshamelessly studying scores of Respighi in order to extract themagic of their mass audience appeal, we know there’s a crisis.This crisis exists in the perceptions of even the most educatedmusicians. Composers today seem to be hiding from certaindifficult truths regarding the creative process. They have abandoned their search for the tools that will help them createreally striking and challenging listening experiences. I believethat is because they are confused about many notions inmodern music making!

First, let’s examine the attitudes that are needed, but that havebeen abandoned, for the development of special disciplines inthe creation of a lasting modern music. This music that we canand must create provides a crucible in which the magic withinour souls is brewed, and it is this that frames the templates thatguide our very evolution in creative thought. It is this generativeprocess that had its flowering in the early 1950s. By the 1960s,many emerging musicians had become enamored of thewonders of the fresh and exciting new world of Stockhausen’sintegral serialism that was then the rage. There seemed limitlessexcitement, then. It seemed there would be no bounds to thecreative impulse; composers could do anything, or so it seemed.At the time, most composers hadn’t really examined serialismcarefully for its inherent limitations. But it seemed so fresh.However, it soon became apparent that it was Stockhausen’sexciting musical approach that was fresh, and not so much theserialism itself, to which he was then married. It became clear,later, that the methods he used were born of two specialconsiderations that ultimately transcend serial devices: crossingtempi and metrical patterns; and, especially, the concept thattreats pitch and timbre as special cases of rhythm.(Stockhausen referred to the crossovers as "contacts", and heeven entitled one of his compositions that explored this realmKontakte.) These gestures, it turns out, are really independentfrom serialism in that they can be explored from differentapproaches.

The most spectacular approach at that time was serialism,though, and not so much these (then-seeming) sidelights. It isthis very approach -- serialism -- however, that after havingseemingly opened so many new doors, germinated the very

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study of artistic integrity andethical courage. I thank youmost sincerely for writing themusical history of our time andof the time to come."

--Gerard Pape, Lacanian psychologist Ph.D., Director ofStudio "Les Ateliers UPIC", the Studio Founded and Operated by the Greek Architect &Composer, Iannis Xenakis

About The Author

James McHard

James McHard is a freelancecomposer, lecturer, and author on music history. He was educated at the University ofMichigan, where he completed his BS in mathematics. He lives with his wife in Livonia,Michigan, and is a French horn player for various localsymphony orchestras and concert bands.

His original compositionsinclude Tremors and Virtuals. The former is scored for tenspecially positioned instruments, taped sound effects (including jet aircraftand bomb noises), and UPIC computer console output; the latter is scored for UPICconsole output, alone. Both were performed and enthusiastically received at theTwice Festival of Experimental Music concerts in Ann Arbor, Michigan.

Mr. McHard has guest lecturedseveral times on experimentalmusic, and on mathematics inmusical composition. He haslectured on modernism and itsfuture in music at UNAM(Universidad NacionalAutónoma de Mexico) for Dr.

seeds of modern music’s own demise. The method is highlyprone to mechanical divinations. Consequently, it makescomposition easy, like following a recipe. In serial composition,the less thoughtful composer seemingly can divert his/her soulaway from the compositional process. Inspiration can be buried,as method reigns supreme. The messy intricacies of noteshaping, and the epiphanies one experiences from necessarypartnership with one’s essences (inside the mind and the soul --in a sense, our familiars) can be discarded conveniently. All isrote. All is compartmentalized. For a long time this was thehonored method, long hallowed by classroom teachers andyoung composers-to-be, alike, at least in the US. Soon, a sense of sterility emerged in the musical atmosphere; many composersstarted to examine what was taking place.

The replacement of sentimental romanticism with atonal musichad been a crucial step in the extrication of music from a torpidcul-de-sac. A music that would closet itself in banalself-indulgence, such as what seemed to be occurring withromanticism, would decay. Here came a time for exploration. The new alternative --atonality -- arrived. It was the fresh, ifseemingly harsh, antidote. Arnold Schönberg had saved music,for the time being. However, shortly thereafter, Schönberg madea serious tactical faux pas. The ‘rescue’ was truncated by theintroduction of a method by which the newly freed processcould be subjected to control and order! I have to express somesympathy here for Schönberg, who felt adrift in the sea offreedom provided by the disconnexity of atonality. Large formsdepend upon some sense of sequence. For him a method ofordering was needed. Was serialism a good answer? I’m not socertain it was. Its introduction provided a magnet that wouldattract all those who felt they needed explicit maps from whichthey could build patterns. By the time Stockhausen and Boulezarrived on the scene, serialism was touted as the cure for allmusical problems, even for lack of inspiration!

Pause for a minute and think of two pieces of Schönberg thatbring the problem to light: Pierrot Lunaire, Op. 21 (1912 –pre-serial atonality) and the Suite, Op. 29 (1924 serial atonality).Pierrot… seems so vital, unchained, almost lunatic in its special frenzy, while the Suite sounds sterile, dry, forced. In the latterpiece the excitement got lost. This is what serialism seems tohave done to music. Yet the attention it received was all out ofproportion to its generative power. Boulez once evenproclaimed all other composition to be "useless"! If the ‘disease’--serialism --was bad, one of its 'cures' --free chance --wasworse. In a series of lectures in Darmstadt, Germany, in 1958,John Cage managed to prove that the outcome of music writtenby chance means differs very little from that written usingserialism. However, chance seemed to leave the publicbewildered and angry. Chance is chance. There is nothing onwhich to hold, nothing to guide the mind. Even powerful musicalpersonalities, such as Cage’s, often have trouble reining in theraging dispersions and diffusions that chance scatters,seemingly aimlessly. But, again, many schools, notably in theUS, detected a sensation in the making with the entry of freechance into the music scene, and indeterminacy became a newmantra for anyone interested in creating something, anything, so long as it was new.

I believe parenthetically that one can concede Cage somequarter that one might be reluctant to cede to others. Oftenchance has become a citadel of lack of discipline in music. Toooften I’ve seen this outcome in university classes in the US that‘teach ‘found (!)’ music. The rigor of discipline in music makingshould never be shunted away in search of a music that is‘found’, rather than composed. However, in a most peculiarway, the power of Cage’s personality, and his surprising senseof rigor and discipline seem to rescue his ‘chance’ art, whereother composers simply flounder in the sea of uncertainty.

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Julio Estrada’s class inexperimental musiccomposition and at CCMIX(formerly Les Ateliers UPIC) inParis.

Still, as a solution to the rigor mortis so cosmically bequeathedto music by serial controls, chance is a very poor stepsister. TheCageian composer who can make chance music talk to the soulis a rare bird indeed. What seemed missing to many was theperfume that makes music so wonderfully evocative. The ambience that a Debussy could evoke, or the fright that aSchönberg could invoke (or provoke), seemed to evaporatewith the modern technocratic or free-spirited ways of the newmusicians. Iannis Xenakis jolted the music world with the potentsolution in the guise of a ‘stochastic’ music. As Xenakis’ workwould evolve later into excursions into connexity anddisconnexity, providing a template for Julio Estrada’sContinuum, the path toward re-introducing power, beauty andfragrance into sound became clear. All this in a ‘modernist’conceptual approach!

Once again, though, the US university milieu took over (mostlyunder the stifling influence of the serial methodologist, MiltonBabbitt) to remind us that it’s not nice to make music byfashioning it through ‘borrowings’ from extra-musical disciplines.Throughout his book, Conversations with Xenakis, the author,Balint András Vargas, along with Xenakis, approaches theevolution of Xenakis’ work from extra-musical considerations.Physical concepts are brought to bear, such as noisepropagating through a crowd, or hail showering upon metalrooftops. Some relate to terrible war memories of experiencessuffered by Xenakis, culminating in a serious wound. To shapesuch powerful sounds, concepts akin to natural phenomenahad to be marshaled. From the standpoint of the musicalclassroom, two things about Xenakis are most troubling: one ishis relative lack of formal musical training; the other, or flip side,is his scientifically oriented schooling background. In ways noone else in musical history had ever done, Xenakis marshaledconcepts that gave birth to a musical atmosphere that no onehad ever anticipated could exist in a musical setting. One mostprominent feature is a sound setting that emulates Brownianmovement of a particle on a liquid surface. This profoundlyphysical concept needed high-powered mathematics toconstrain the movements of the (analogous) sound ‘particles’and make them faithful to the concept Xenakis had in mind.There is, as a result, a certain inexactitude, albeit a physical slipperiness, to the movement of the sound particles. Nicemusical smoothness and transition give way to unpredictableevolution and transformation. This concept blows the skin offtraditional concepts of musical pattern setting! Its iridescentshadows are unwelcome in the gray gloom of the Americanclassroom.

In their haste to keep musical things musical, and to rectifycertain unwanted trends, the official musical intelligentsia, (thepress, the US university elite, professors, etc.) managed to finda way to substitute false heroes for the troubling Xenakis.Around the time of Xenakis’ entry into the musical scene, andhis troubling promulgation of throbbing musical landscapes,attendant with sensational theories involving stochasticincarnations, a group of composers emerged who promised todeliver us from evil, with simple-minded solutions erected onshaky intuitional edifices. The so-called ‘cluster’ group ofwould-be musical sorcerers included Krzysztof Penderecki,Henryk Górecki and György Ligeti. These new musical darlings,with their easy methodologies, gave us the first taste of thesoon-to-emerge post-modernism that has posed as our ticket tothe Promised Land for the last thirty years. It seemed that, justas music finally had a master of the caliber and importance ofBach, Schönberg, Bartók and Varčse in the person of oneIannis Xenakis, history and musicology texts seemed not to beable to retreat quickly enough to embrace the new saviors, allthe while conspiring against an all embracing creativity foundfast, and well-embedded within the turmoil of the stochastic

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process.

Alas, Xenakis has been exiled from American history, as much as the powers have been able to do so! His competition, thosein the intuitive cluster school, became the fixtures of the newmusical landscape, because their art is so much easier than thatof Xenakis. Ease of composing, of analyzing and of listening are the new bywords that signal success in the music world. Thosewho extol such virtues herald the arrival and flourishing ofpost-modernism and all its guises, be it neo-romantic, clusteringor eclecticism. The proud cry these days, is "Now we can doabout anything we wish." Better, perhaps, to do nothing than toembrace such intellectual cowardice.

The promise of a return to musical fragrances that walk inharmony and synchronicity with intellectual potency wasprecious and vital. It should signal the next phase of evolution inthe creative humanities. The challenge to write about this potential of a marriage of humanities was overwhelming. Noadequate text seemed to exist. So I had to provide one. All thatwas lacking for a good book was a unifying theme.

There is, today, an admirable solitary and courageouscomposer, Gerard Pape, in Paris, Director of studio Les AteliersUPIC that was founded by Iannis Xenakis. Pape’s mission,through his work in this studio, is to provide a haven forcomposition that includes the nurturing of discipline in thought,method, attitude and rigor in the field of musical composition.That studio houses a large array of sophisticated equipment bywhich to generate music. More importantly, though, seminarsand classes are held there that explore the nature of sound andof the way we think. The natural sources and shapes of soundsin our physical universe are scrutinized carefully, in order toensure that tomorrow’s composers fully understand the essenceof sound. This will enable effective composition. Fortuity isde-emphasized in favor of scientific construction. In order tobolster this discipline, the psychology of human perception isexplored. (Mr. Pape is a PhD in Lacanian psychology.) Whenrigorous understanding of natural sound phenomena is blendedwith an understanding of the human ear and of the perceptualcapabilities of the mind, the foundations for creativity are brewedin a potent mixture.

Algorithms control the walk of the sounds. Algorithms areschemata that work the attributes of sound to enable them tounfold meaningfully. An algorithm is a step-function that canrange from a simple diagram to stochastic or Boolean functions. Even serialism is an algorithm. While they are important,algorithms take second place in importance to the focus ofmusic: its sound. This concentration is given a terminology byMr. Pape: sound-based composition. Isn’t all music soundbased? It’s all sound, after all.

Well, yes, but not really. The point of the term is to highlight theemphasis of the approach being on the sound, rather than onthe means used for its genesis. In sound-based composition,one concentrates on a sound, then conjures the way to createit. In serialism, ordering takes precedence over quality. The result often is vapid: empty sound. Directionless pointillism robsmusic of its vital role, the conjuring of imagery, in whateverguise. The other leading practitioner of sound-basedcomposition is Dr. Julio Estrada. In his composition classes andseminars at UNAM (Universidad National Autónoma deMéxico), he emphasizes the mental formation of an imaginary, sort of an idealized imagery. Then the composer/students aredirected to formulate a conspirator sound essence that conveyssomething of the élan of this imaginary. Only then, once theconstruct of sound is concocted, is the method of soundshaping in the form of notation employed. Understanding ofimagery and of fragrance precedes their specification. This is a

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sophisticated example of sound-based composition.

A curious, special case arose out of the arcane methods ofGiacinto Scelsi, who made explicit what long had been lurking inthe background. He posited a ‘3rd dimension’ to sound. He feltthat the trouble with the serialists was in their reliance upon twodimensions in sound: the pitch and the duration. For Scelsi,timbre provides a depth, or 3rd dimension, explored only rarely until his groundbreaking work. He devised ways to call forunusual timbres, and evolutions of timbre that resulted in hisfocusing on the characteristics of, and the transformationsbetween (within!), attributes of single tones. Indeed, his Quattro Pezzi are veritable studies in counterpoint within single tones!

This concept of sound-based composition provided the unifyingseed around which a book could be built. It would be one thatcould salvage something of the first principles of the union ofintellectual discipline and a vibrant sound context: that is, musicwith meaning, challenge, discipline, ambience and something that requires courage and commitment in its conception. Suchwould be a music that yields special, beautiful, powerful, alluringfruits, which, nonetheless, disclose their secrets only reluctantly,demanding skillful teasing out of their magic.

This epiphany revealed a road by which we could reestablishthe Xenakian ideal of musical power attainable primarily throughprocesses that have their basis in the physics and architectureof the world around us. Here was not only the answer, theantidote, if you will, to the rigidities of serialism, but also a cure for the sloppiness of unconstrained chance composition. Herewas a way out of the impasse confronting composition in the1960s. The question should be not what method to use to compose, for that leads only to blind alleys (serialism, chance orretreat), but why compose? What is in the musical universe thatcan open pathways not yet explored, pathways that reveal something that stir a soul? What is the best way to accomplishthat?

If we abandon the search for unique roads and for challenge,we will become the first generation ever in music to proclaimthat backwards movement is progress; that less is more. Yet thevery apostles of post-modernism will have us believe just that! They hold that the public has rejected modernism; the publichas held modernism to be bankrupt. Post-modernists will lureyou into the trap that, because of its unmitigated complexity,serialism promised only its demise. "The only road intomodernism is sterile complexity; we need to root this out, andreturn to simplicity. We won’t have a saleable product,otherwise." This is the thinking that gave us minimalism, thenearest relative to ‘muzak’ one can conjure in art-music. Onecomposer, a one-time avant-gardist, actually apologized for hisformer modernity, on stage, to the audience, before aperformance of his latest post-modern work!

There is an inscription in the halls of a monastery in Toledo,Spain: "Caminantes, no hay caminos, hay que caminar"(pilgrims, there is no road, only the travel). This was a beaconfor one of music history’s most courageous pilgrims – a fighterfor freedom for the mind, for the body, and for the ear: LuigiNono. His example could serve us all well. He exposed himselfto grave danger as a fighter against oppression of all kinds, notleast of all the musical kind. It takes courage to create. It isn’tsupposed to be easy! Nothing worthwhile ever is. It would seemto me that Nono’s example serves as the antithesis to that of theprevious composer.

In my new book, The Future of Modern Music (to be publishedshortly by American Book Publishing – ABP), I examine musichistory of the 20th century to find clues to why certain

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composers generate more excitement than others. Is it possiblethat sound-based composition has flourished in an intuitive wayfrom back into the 19th century? Has it been around a while, butjust not codified explicitly as such? I feel that is so. To someextent the roots of this idea can be found in the so-callednationalism of such composers as Bartók and Janácek.Nationalism has gotten something of a bad rap due to folksy,cutesy concoctions usually redolent within its environments. But,upon reflection and examination, the more rigorous efforts innationalistic composition yield tremendous fruits. Note especiallyBartók’s highly original devices of twelve-tone tonality (e.g., axispositions and special chords). Less well known, but importantas well, are the special folk vocal inflections resident inJanácek’s music. These special qualities spilled over from thevocal to the instrumental writing. So it appears that we canmake a strong case for sound-based composition (compositionfocused on special sound qualities) being rooted in the music bythe turn of the 20th century.

In The Future of Modern Music, the focus is redirected away from such sterile arguments as neo-classicism vs. serialism;instead, we confront what is at the core of what makes music inthe first place: that is, back to the nature of sound itself. Toaccomplish this it became necessary to restate the historicalarguments completely. The book, then, became philosophicalhistory text that would survey major trends. Those trends that organize sounds as entities give way in importance, in this text,to those that open a challenge to the way we think in theformation of sonic concepts, and to the way we perceive sound.The process of creation is the focus; not the glorification of thesuperficial sounds that only mimic real music. The reinstatementof Xenakis’, Nono’s, Scelsi’s and Estrada’s ideals topreeminence was crucial. The recognition of these trends, inpreference to those of the more facile and easily attractive onesespoused by Penderecki, Ligeti and others, had to be ensured.The easy lure of cluster music had to be resisted.

For those who may be interested in examining my book, The Future of Modern Music, when it becomes available, I nowprovide a brief outline. My first task was to sharpen thedistinction between what is modern and what poses as modernmusic. This was important because there exists today a graveconfusion as to the meaning of the adjective ‘modern’ asapplied to music. If we don’t make this distinction clear, all thatfollows is nonsense. Too many people apply modernism toanything that resided in the 20th century that contained a littledissonance. That is a common error. For others, modernismexists in any era – it simply is what’s happening at a given time,and is appropriate as a description for music in that era. This,too, is wrong for its reluctance to confront the creative process.

We mustn’t yield to these impulsive descriptions, for to do sorenders the profound efforts of the 20th century meaningless.There is a unifying thread in music that qualifies it to beconsidered modern, or modernist, and it isn’t just a time frame.Modernism is an attitude. This attitude appears periodically inmusic history, but it is most effectively understood in the contextof creativity, most pronouncedly found late in the 20th century.Modern music is the music composed that results from researchinto the attributes of sound, and into the ways we perceivesound. It usually involves experimentation; the experimentationyields special discoveries that bear fruit in the act ofcomposition. This distinction is crucial; for even though muchcluster music, and some neo-classical music, contains highdissonance, their focus is reactionary. The experimental work ofSchönberg, Berg, Webern, Bartók, Varčse, and that of someStravinsky, is forward-looking, in that the music is not a solutionunto itself: it provides a template for further work and explorationinto that area. Even more so, the work of Cage, Xenakis, Scelsi,

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Nono and Estrada is path-breaking. Given the clarificationprovided in this terminological examination of modernism, theargument in the book proceeded.

The Future of Modern Music is laid out into two roughly equalhalves: the first half of the 20th century is perused as abackground; the last half of the century is given intenseconcentration. The focus for both halves is placed upon the crucial and seminal discoveries within those historical frames,into the background behind these discoveries, and on thephilosophical problems that led the composers to theirdiscoveries. I provide a time line at the beginning to give thereader a snapshot of music history in the making. Innovations such as atonality, klangfarbenmelody, chord-coloration, granular sounds, near-inaudibility, ataxy, the continuum andothers are briefly discussed. More in-depth considerations of allthese topics are provided within the chapters on the composers,themselves.

The composers discussed are purposely arranged so as toshow a developing lineage, following the emergence of thedisciplines of sound-based composition, and culminating in itsexplicit revelation in the works of Pape and Estrada. Finally, the work at Les Ateliers UPIC is examined in the concluding chapter.

The composers chosen for discussion herein are the ones Iconsider to be the most exemplary models in the developmentof sound based composition. They are as follows:

Janácek (nationalist inflection)

Debussy (chord-coloration)

Mahler (expressionism and tone-color melody)

Ravel (impressionism)

Malipiero (intuitive discourse)

Hindemith (expressionism in a quasi-tonal context)

Stravinsky (octatonic diatonicism)

Bartók (axial tonality, arch form, golden sectionconstruction)

Schönberg (expressionism, atonality,klangfarbenmelodie))

Berg (‘tonal’ serialism)

Webern (canonic forms in serialism,klangfarbenmelodie)

Varčse (noise, timbral/range hierarchies)

Messiaen (modes of limited transposition,non-retrogradable rhythms, color chords)

Boulez (special live electronics instruments)

Stockhausen (pitch/rhythm dichotomy)

Cage (indeterminacy, noise, live electronics)

Xenakis (Ataxy, stochastic music, inside-outsidetime attributes, random walks, granularity,non-periodic scales)

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Nono (near inaudibility, mobile sound, specialelectronics)

Lutoslawski (chain composition)

Scelsi (the 3rd dimension in sound, counterpoint within a single tone)

Estrada (The Continuum)

Limited discussion is added for consideration of innovations ofMilhaud, Ives, Ruggles, Vermeulen, Cooper, and Pape. Thebook concludes by laying down challenges for the composers oftomorrow’s music, or for the future of modern music.

There is so much glitter in the world, and so much noisepollution that we are being rendered incapable of reflection andof creative thought. We become mortified at the thought of alittle challenge. We are paralyzed when faced with the challenge of keeping our evolutionary legacy in focus. We cannot afford totrade away quality for mediocrity, just because mediocrity iseasier and more enticing. This would not be an acceptablesocial outcome. To live we must thrive. To thrive we cannot rest.

Entertainment is a laudable pursuit in certain settings and times.It cannot be the force that drives our lives. If a composer desiresto write entertaining music, that is all right. But that composer must be honest about his or her motives for doing so. Do notwrite entertainment and then try to con the public by claimingthis is great music. It is best to be able to discover the key to thewriting of a music that can fulfill a need for tomorrow. Byunderstanding nature, the nature of sound and the humancondition, we can write music capable of conveying somethingessential. That goes beyond entertainment. It fulfills music’smost crucial purpose: providing a teaching role. What betterway to go through a learning process than to find oneself doingso while wrapped in a cocoon of beauty? Music can be our bestteacher.

It is all right to find beauty in old sources. Even Respighi can bevery charming, engaging. It is also just as good to listen tosoothing, euphonious music as it is to write such music. Butcan’t we as composers do better than this? Why can’t we givesomething besides pleasure to tomorrow? Young composerstoday are at a crossroads. They can fulfill a vital mission byhelping fulfill a tradition that carries on a cultural legacy. Today’scomposers must begin to dream; and then compose.

By James McHard, author of "The Future of Modern Music" found at http://www.pdbookstore.com Copyright 2001AmericanBook Publishing.

Article may be used if in complete form with author tag line. For permission please send request toarticles@american-book.com

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