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Setting the Pace: The Role of Speeds in Elliott Carter's A Mirror on Which to Dwell

Setting the Pace: The Role of Speeds in Elliott Carter's A Mirror on Which to Dwell Music Analysis, 22/iii (2003) 253 ß Blackwell Publishing Ltd. 2003. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK BRENDA RAVENSCROFT which he charts in `The Orchestral Composer's Point of View'.4 Furthermore, his rhythmic structures rarely operate independently of other musical parameters, and Bernard also elucidates how he often weds rhythm and pitch by pairing each speed with a specific aspect of pitch, such as with a small repertoire of intervals.5 Bernard's discussion of Carter's rhythmic practice is necessarily limited to instrumental music, as he did not write for the voice in the decades addressed by the essay. It is intriguing, however, to consider how speeds could function in vocal music, where there is, as Carter put it in the late 1960s when his aversion to text-setting began, `a whole other time-structure to be thought of and dealt with'.6 By the time he did return to vocal composition in 1975, after a hiatus of nearly thirty years, his technique of using speeds as a means of controlling rhythm was well established. Moreover, it was evident that speeds could play a special role in terms of text expression: the added dimension of text-setting would allow him to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Setting the Pace: The Role of Speeds in Elliott Carter's A Mirror on Which to Dwell

Ravenscroft, Brenda
Music Analysis , Volume 22 (3) – Oct 1, 2003
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References (1)

Publisher
Wiley
Copyright
Copyright © 2003 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.0262-5245.2003.00186.x
Publisher site
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Abstract

Music Analysis, 22/iii (2003) 253 ß Blackwell Publishing Ltd. 2003. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK BRENDA RAVENSCROFT which he charts in `The Orchestral Composer's Point of View'.4 Furthermore, his rhythmic structures rarely operate independently of other musical parameters, and Bernard also elucidates how he often weds rhythm and pitch by pairing each speed with a specific aspect of pitch, such as with a small repertoire of intervals.5 Bernard's discussion of Carter's rhythmic practice is necessarily limited to instrumental music, as he did not write for the voice in the decades addressed by the essay. It is intriguing, however, to consider how speeds could function in vocal music, where there is, as Carter put it in the late 1960s when his aversion to text-setting began, `a whole other time-structure to be thought of and dealt with'.6 By the time he did return to vocal composition in 1975, after a hiatus of nearly thirty years, his technique of using speeds as a means of controlling rhythm was well established. Moreover, it was evident that speeds could play a special role in terms of text expression: the added dimension of text-setting would allow him to

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Music Analysis – Wiley

Published: Oct 1, 2003

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