Composition 2a/b

MUH 1024/5

The Transformation Project

Project List

Some Ideas

Listen to the slow movement of Brahms' Fourth Symphony. Notice the way in which Brahms transforms one theme - relatively fast and violent into something slow, smooth and passionate. This is an example of a transformation you should be looking for. Wagner, too, used thematic transformation as a basic tool. Get hold of Robert Donington's book, Wagner's Ring and Its Symbols for many more ideas.

Other examples of transformations:

• Bach's use of diminution/augmentation/inversion in Goldberg Variations, The Art of Fugue, The Musical Offering, etc.
• Serialism
• Tchaikovsky Symphonies - especially Manfred and number 5

What are the point of these transformations? Many people including Wagner think or thought that transforming material creates psychological effects that inform the 'meaning' of the music. What do you think? Does transforming material change music's meaning, or is it just a game, an interesting play on 'words'? Does it 'only' involve using musical material 'well'?

It's worth pointing out that thematic transformation is not generally considered such an essential technique as it was during the late nineteenth and early twentieth centuries. Minimalism does not use transformation in any 'traditional' way; some of the more experimental composers of the twentieth century - Varese, Cage, etc. - use transformation in a very limited way or not at all. Some composers - for instance Messiaen - distained transformation in favour of it's reverse - the deliberate contrasts of 'block' forms. Most transformation is used for purposes of architectural structuring (Bach) or dramatic expression (Beethoven, Brahms, Tchaikovsky), or both (Serialism). Both methods are essentially a part of the same tradition of western music.

The Rules

1. Create a short piece which uses at least two musical ideas;

 
2. These ideas may be melodic, harmonic, rhythmic, etc.;

 
3. Use these ideas to create at least two other ideas each - each of these should be transformations;

 
4. Melodic ideas may be inverted, diminished, augmented, reversed;

 
5. Harmonic ideas may be inverted and extended;

 
6. The texture, tempo or rhythm of an idea may be altered more or less dramatically;

 
7. One aspect of a melody or harmony may be taken and transformed into, say, an accompanying figure;

 
8. Ultimately, there is no end to this. It's up to you to come up with interesting and expressive transformation. However, remember that this is an exercise in imagination. You don't have to be so concerned about the structure of the piece, concentrate more on the drama and expression of the transformations.

 
9. Finished compositions will be performed during week 4.

General Notes from the last time this was done

This project has never been undertaken before.

A few other general points:

Awaiting other general points...

Good luck!