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At the end of his celebrated book on harmony, Arnold Schoenberg gave the world
a glimpse of a future music. He called attention to the fact that up until that time music
was constructed only according to pitch, and that tone color was, structurally, all but
neglected. He disagreed with the common conception that pitch and tone color were
independent parameters of sound since “the tone becomes perceptible by virtue of tone
color.”1 Schoenberg wondered what music would be like if it had a logical system
Indeed, the world wondered with him. Since the time he wrote about it, this idea
against the claim that certain Webern compositions were a fulfillment of his concept.2
These works were considered so because of their varying of instrumentation and relative
stasis of pitch. Cramer also notes a discussion between two scholars, Erich Doflein and
Carl Dahlhaus (along with others), who argued over whether to consider the third piece
is still disagreement among scholars as to what the word actually means. But all of it is
1
Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Berkeley: University of California Press,
1983), 421-2.
2
Alfred Cramer, “Schoenberg’s Klangfarbenmelodie: A Principle of Early Atonal Harmony,” Music
Theory Spectrum: The Journal of the Society for Music Theory 24, no. 1 (Spring 2002), 4.
3
Cramer, 3.
2
composition was what truly lived on, changing the face of Western music.
To find the connection to sound mass, it will help to briefly track a portion of
twelve-tone’s influence on Western music. First, Webern used the system by breaking
the row into small three- or four-note segments, which was the first sign of micro-
structuring and formal music. The serialists of the Darmstadt school, moving in the same
direction as Webern, took the row and applied its twelve steps to aspects of rhythm,
dynamics and articulation, creating dense and mathematically complex textures. Yet, the
intricate structures, though well-thought-out and elegant, were nearly imperceptible to the
listener. This led composers of the mid-1950s and early-1960s to react against total
serialism. They began looking for other ways of structuring music, believing that the
At that time, electronic music studios were opening across Europe; composers
lined up to get the chance to work in them for a short time. There, they were able to
create music from the ground up, starting with elementary wave forms and creating
whatever their imaginations could devise. This new development in music opened up
their minds to think about sound according to its physical attributes: frequency,
amplitude, envelope, duration. Edgard Varèse should be mentioned here, being one
pioneer who had been thinking on this level since the 1930s. He had also been made
aware by his experience with electronic music; now, modern music was catching up with
him. It was not long before some composers began to take these new concepts and apply
Iannis Xenakis and Krzysztof Penderecki are two such composers. Their works
for orchestra challenged everything anyone knew about music at the time. Xenakis’s
the serialistic approach to composition. Penderecki, too, saw problems in the Darmstadt
ideology and set out to organize his music according to what was being heard – the
impression of the sound itself rather than pitch. The fruit of both is now considered
sound mass music. Other composers such as György Ligeti and Witold Lutoslawski
began to write similar kinds of music. Performances of these works were often received
as a fresh alternative to the serialist and aleatoric movements because they were using the
orchestra in a way that seemed more meaningful and could be understood by anyone.
Also, they were doing it by creating a sound no one had heard before.
This new sound manifested itself in the work of composers from different
countries and backgrounds. Each one had his or her own particular approach to the
graphical scoring, Ligeti to micropolyphony and Lutoslawki to open scoring. Yet, each
yielded a sound that was then, and is now, perceived as being similar. What is it about
the music of sound-mass that makes it unified? As one reviewer said about the premiere
of Xenakis’ Metastasis, “It deals with the new problem (first posed by Schoenberg) of
timbre composition.”4
acoustically in their works, there is evidence of a new music, the logic of which is
4
Nouritza Matossian, Xenakis (New York: Taplinger Publishing Company, 1986), 65.
4
structured according to tone color and not according to pitch. In this way, composers
reacting against serialism, which was the eventual result of Schoenberg’s twelve-tone
method, unwittingly created music that began to fulfill his other influential concept, that
and see how it relates to the breakthrough compositions of Xenakis and Penderecki.
klangfarbenmelodie. The idea is first discussed in the last chapter of Schoenberg’s text,
Harmonielehre.5 In this chapter, he had been discussing chords of six or more tones.
Chords of such density were fairly new to music, and Schoenberg was pointing out that
their overall color changes substantially when the voicing is changed or a single note is
added or removed. This is because the color is dependent on where the notes are in
relation to each other so that changing the voicing or inclusion of even one note affects
After this discussion he moves on to what he calls “yet another idea,” and begins to
build a description of klangfarbenmelodie. He does not, however, truly leave behind the
previous topic. He begins with an explanation of how sound is made up of pitch, tone
color and volume, and makes the statement that all music up to that point had only been
measured according to pitch. Meanwhile, tone color was treated as a secondary element
while in fact it is an equally, if not more important member. (He only mentions volume
in the initial description of sound; the rest of the discussion deals only with pitch and tone
color. This is surely because he does not consider volume as fundamental as the other
two elements.)
5
Schoenberg, 421.
5
Schoenberg states that the evaluation of tone color is in a “much less cultivated,
much less organized state than is the aesthetic evaluation of these last-named harmonies,”
In these two sentences, Schoenberg seems to be referring directly to the tone colors
produced by the harmonies of the previous discussion, and the concept of a structure to
tone color seems to be simply a law of governing how their colors progress from one
chord and one voicing to the next. He states it even more clearly at the end of the
paragraph:
klangfarbenmelodie became that of unchanging pitches which develop through the use of
publication as The New Grove Dictionary of Music and Musicians. Julian Rushton’s
entry on this term in the second edition states that by klangfarbenmelodie, Schoenberg
“implied that the timbral transformation of a single pitch could be perceived as equivalent
6
Ibid.
7
Ibid.
8
Julian Rushton, “Klangfarbenmelodie,” in The New Grove Dictionary of Music and Musicians, 2nd ed.,
ed. Stanley Sadie and John Tyrrell (New York: Grove Dictionaries, 2001), 13: 652.
6
discussion, it is not difficult to see how it has been reached when the remainder of the
his concept of musical sound, saying that “tone color is . . . the main topic, pitch a
subdivision,” or, more clearly, “Pitch is nothing else but tone color measured in one
direction.”9 These first statements make the remainder of the paragraph misleading
because he is now talking about a single tone, whereas before he was talking about
chords. Considering the initial discussion, it is clear that this change was intended to
illustrate his concept of sound by isolating the discussion to that of the construction of a
single tone. He continues, under this pretext, to talk about how melodies are “patterns”
of tone colors differentiated by pitch, then making the statement that similar patterns
could be devised according to true tone color, instead. Thus, the major description of
defines these “patterns” of tone color as “melodies”. This presents an image of a single
He does, however, define his use of the term “melody” immediately after stating
it. Under this definition, a melody is a “[progression] whose coherence evokes an effect
melodies by saying it would be possible to make “progressions whose relations with one
another work with a kind of logic entirely equivalent to that logic which satisfies us in the
9
Schoenberg, 421.
10
Ibid.
11
Ibid.
7
In the previously cited article, Cramer makes the argument that Schoenberg’s
not necessarily grounded in the harmonic series,”12 referring to the fact that, at the time,
chord tones were considered “reified partial tones” of the harmonic series. Instead of
using the harmonic series to structure chords, Schoenberg’s idea suggests using the colors
which both clarifies Schoenberg’s position on this definition and presents musical
examples that bring this idea closer to sound mass music. In response to claims about
works are only slightly similar to his concept, and points out several places in his own
work as isolated examples of what he meant by the word Klänge. They are “the tomb
scene of Pelleas und Melisande, or much of the introduction to the fourth movement of
my second String Quartet, or the figure from the second Piano Piece that Busoni repeated
so many times in his adaptation, and many others.” He adds, “They are never merely
of moving voices.” He does not say that these examples are in themselves
klangfarbenmelodien, but that “They would become melodies if one found the point of
view to arrange them so that they would form a constructive unity of absolute autonomy,
12
Cramer, 2.
13
Ibid., 1-2.
14
Ibid., 4.
8
Cramer presents examples which he believes are the ones referred to in this letter.
For the quotation from Pelleas und Melisande, Cramer presents measures 6 – 7 after
correct because it is an example Schoenberg copied into the notes of a 1950 Capitol
recording of the piece, making mention in his commentary of the “musical sound . . .
which is remarkable in many respects.”15 Here, Cramer notes that with the soft dynamic,
the combination of instruments on each line, and the use of tremolo and flutter tongue,
the individual timbres of the instruments do not stand out, but rather create a “changing
sonorous whole.” The other examples similarly show polyphonic passages and do not
Cramer’s statement might be amended to say that each tone contributes to the
timbral whole more so than it contributes to any pitch relationships. Within the context,
this is a safe addition, and it brings into focus how this concept is connected to sound
colors that were created by a polyphony in which pitch was only important in its
contribution to overall color, then his concept is a description of sound mass music.
In 1954, three years after Schoenberg’s letter to Rufer, a young Iannis Xenakis
completed his breakthrough composition, Metastasis. In this work, he grappled with the
15
Ibid., 4.
16
Ibid., 7.
9
problems he saw in the serialist music of his time. In his article, The Crisis of Serial
Music, Xenakis articulates these problems in six points, saying that such music:
In fact, their conclusion was illogical since, by quantizing musical elements to a tone row
or set, they ignored the continuous nature of those elements and elevated pitch to a
dominance that was more total than before Schoenberg. Also, they did not deal with the
real problem presented, namely, how to develop a system of moving all musical
parameters organically, without one presiding over the others. In Bálint Varga’s
published interview, Conversations with Iannis Xenakis, the composer says that those in
the Darmstadt school, in attempting to address this issue, were dealing with mass events
and did not know it. He comments that they should have begun to think of “average
17
Quoted in Matossian, 85.
10
density, average duration, colours and so on,” noting that these ideas would inevitably
would eventually term stochastic music.18 While Xenakis’ response to these problems
was the statistical approach, it is not this that makes his music close to
which led him to stochasticism, deals more with the development of densities, which are
probabilities outright in his 1955-6 composition Pithoprakta. In fact, it was during work
on Metastasis that he was first made aware of the existence and function of probability
theory. Therefore, Metastasis is not a prime example of his statistical modeling in music.
It is, however, a good example of how the composer intuitively conceived of music
before a system presented itself, and how that conception relates to Schoenberg’s idea. It
was in this piece that Xenakis first dealt with the problems of his age, first employed
glissandi to create continuity, and first divided the orchestra down to its discrete
members. In addition, the premiere of this piece at the 1955 Donaueschingen Festival
was the first exposure the world had to sound mass music.
Xenakis admits that this was only because he wanted to end it quickly to pursue
stochasticism, so he just wrote a closing section to mirror the first. The opening
measures of the first section are reproduced in Example 2 above. Each of the two A
sections can be characterized as a single chord cluster; in the first it fans out from one
note to forty-six, and in the ending a different cluster, similarly dense, closes back to a
18
Bálint András Varga, Conversations with Iannis Xenakis, (London: Faber and Faber Ltd., 1996), p.54.
11
single note. Each section lasts a substantial length of time so that the listener is affected
by a sense of stasis and slow continuous movement. In Figure 1 below, a chart of the
path of the glissandi in the closing section is reproduced, giving a clearer representation
These cluster chords are the first element of this music that relates to
string sections plays a different pitch from the other. Just as Schoenberg’s atonaliy and
twelve-tone system treated each note with equal emphasis over time, these expansive
clusters place all twelve notes, plus many microtones (since the stings glissando from one
pitch to the next), within one event in time. This technique effectively obscures the
distinction of any one pitch from any other. The impact of the sound on the listener is
almost completely that of color. It is likely because of the impression of these two
sections that one reviewer at the time of the premier, as previously mentioned,
In between the two cluster sections is one that deals with a pointillistic texture,
which makes it closer to the music of the serialist school than the other two. Despite the
structuring pitch relations in this piece. As this section begins, these structures become
apparent, since the line is melodic and the texture is reduced to only a few solo players.
Soon, however, each member of the orchestra is added and the sound slowly changes into
a mass. This motion from one instrument to fifty-seven might be similar to hearing one
conversation in a crowded hall, and then slowly moving up above the crowd as all
conversations become one sound. He then moves the mass by shifting the density of
12
sound from section to section, presenting many of these changes in harsh juxtaposition.
In all of it, the element that the listener follows most easily is the timbre.
There are two other points about this piece that connect it to klangfarbenmelodie.
The first is noted by Nouritza Matossian in her book, Xenakis.19 Here she informs the
reader that Xenakis designed “timbral characters” for this composition which he called
and cascading glissandi, pizzicato, disordered brass, solo instrumental lines, internal
movement of percussion and others. To explain their use, Matossian compares these
“personnages” to geometric shapes, such as the square. Many different kinds of squares
can be created merely by changing the color of the square, the material it is made of, and
so on. Xenakis used these characters as generic figures which would be altered according
to pitch, dynamics, duration and other sound qualities to present, as it were, a certain
genus of sound that was also specified by its species. In addition, Matossian points out
the fact that Xenakis graphically mapped the timbral characters as they progressed and
created a detailed color visual representation of the piece. This is a technique that he
In connection with this idea is the second point, which comes from a quotation
from Varba’s Conversations.20 In talking about Metastasis, Xenakis tells of two things
that were occupying his mind at the time of writing the piece. The first was the idea of
computation, which would be most fulfilled by his later use of probability theory. The
second point, however, speaks directly to the last chapter of Harmonielehre. Without
19
Matossian, 60-61.
20
Varba, 72.
13
chord of six or more pitches has a particular color that is substantially altered by even
small changes to the notes. Xenakis says that, at the time, he was occupied with the idea
without any gap in between. Here we see that alongside his mathematical ponderings
was an awareness of timbre and a desire to write music that was structured around its
development over time. His treatment of the above mentioned “personages” shows some
colors, it is also clear that his music is primarily structured according to the movement of
densities of sound, not the evolution of colors. The result, however, is music that is
removed completely from reliance on pitch-related structures, and instead deals with the
movement of masses of sound over time. Since these masses effectively obscure the
function of individual pitches and bring timbre to the fore, the effect is that the listener
perceives a structure reliant upon changing timbre. This is even true in the middle
section because of the eventual total obscuring of pitch. In effect, Xenakis is writing
klangfarbenmelodie music, but his true structure is based on density rather than color.
In 1960, six years after the completion of Metastasis, Poland produced another
sound mass composer. In 1956, the same year that Xenakis was beginning work on
Pithoprakta, Poland was coming out of seven years of isolation from the stage of modern
music. In this year, the people staged a revolt, which resulted in, among other things, a
this success was far from true freedom, it did permit Polish composers access to music
In his book Polish Music Since Szymanowski, Adrian Thomas talks about the
progress of composers during this time.21 In the first four years following the revolt, they
delved into the twelve-tone method of the Second Viennese School, aleatorism and
happenings, and a few rare instances of serialism. They struggled to find their place in
these surroundings, both individually and as a nation. The young composers had been
schooled during the oppression of Soviet Realism, and the concept of music they had
become most familiar with harkened back to Romantic pathos-led composition and
encouraged employing themes of folk lore. The new highly mathematical and
It was not until 1960 that Poland made a breakthrough with a sound that was
characterized as being truly Polish. This new sound was christened sonorism according
the time it was occurring, this style was not very well defined, although after the 1970s,
several scholars attempted to solidify what sonorism is. One often quoted passage comes
[I]n place of melody, harmony, metre and rhythm, sound became the
form-creating, tectonic agent. Pitch as such ceased to have a vital role – color
was now dominant. The sound shape became the architectonic unit instead of
the motif.22
21
Adrian Thomas, Polish Music since Szymanowski, (Cambridge: University Press, 2005), 92.
22
Ibid., 161.
15
While sonorism is linked with most of the Polish composers from this time,
Krzyzstof Penderecki is considered the figurehead for the period. Around the year 1960,
he produced four pieces which were the first of his own to break completely with
traditional forms and are considered the first sonoristic compositions. They are,
Dimensions of Time and Silence, Anaklasis, Threnody: to the Victims of Hiroshima, and
his String Quartet. The first two were performed in that same year. Of these
for the 1960 Donaueschinger Festival in Germany. It is evidence to the power of this
new kind of music that he received an encore from the audience, something that was far
more common in the nineteenth-century and almost unheard of in the twentieth. The
success of this performance was pivotal in making Penderecki the important figure he is
today. Interestingly, it was on the same stage five years previous that Metastasis had the
techniques as is Xenakis. Therefore, determining the structure of his work from this
period has been the daunting task of theorists ever since the style came to prominence.
One of the first theorists to attempt an explanation was Tadeusz Zielinski, who wrote on
the subject throughout the 1960s. One of the lasting contributions of these writings is the
Penderecki’s works. He also talks of three basic types of sound, the discussion of which
will help to define the former term. These three types are lines, or a single pitch held for
various durations; bands, or many pitches forming a cluster that is held for various
16
durations; and points, or short sounds such as a plucked string or a note of brief duration.
A sound shape is defined by the elementary unit or units it is composed from and how
those units behave over time.23 For instance, at measure 113 at the end of Anaklasis, as
seen in Example 3 below, one particular sound shape is used among the strings. It is a
medium sized band in the extreme high ranges of the instruments which has a continuous
bend upward at its end, facilitated by a glissando. The ends of these bands occur at
different times so that the overall effect of the shapes in combination is that of the sound
Zielinski’s ideas have since been used as a basis for common understanding, but
the first attempt at a thorough analysis of Penderecki’s structure throughout his sonorisitc
period was done by Danuta Mirka in her book The Sonoristic Structuralism of Krzysztof
Penderecki. She also builds on Zielinski’s definitions, but her work is best defined as the
designed according to contrasts within musical space. The particulars of how the sounds
contrast defines how the sound shapes are created and move within it. Mirka outlines
two systems at work within all pieces: the basic system and the timbre system. The basic
system has eight categories of contrasts. To summarize, these categories deal with
contrasts in register, contrasts in dynamics, continuity of musical events over time and
within vertical space, and how these issues of continuity affect a sense of mobility. This
system shows how the composer manipulates his sounds according to these parameters in
each piece.24
23
Danuta Mirka, The Sonoristic Structuralism of Krzysztof Penderecki, (Katowice, Poland: Music
Academy, 1997), 21-22.
24
Mirka., 229.
17
One thing Penderecki is often noted for is his creation of many new sound effects
the fingerboard with the palm of the hand is one example. The timbre system deals with
the development of these timbres, as well as traditional timbres, throughout the piece.25
Despite its name, this system is not the one most related to the idea of klangfarben-
melodie. Instead, the basic system is, because it shows that there is an order to the sound
shapes created and moved within Penderecki’s pieces, which in turn shows a logical
structure based on density. Density, in turn, is perceived not as pitch, but color.
have a progression which starts from a thick band in the middle register, moves to a
thinner band in an extreme high register which oscillates its pitch within the vertical
space by way of a wide vibrato, and ends with a still thinner band in a higher register,
which oscillates at a slower rate. In addition, there is a progression in the length and
placement of each shape. The first is about one half the length of the second, the second
about one half the length of the third, and the last two overlap while the first two do not.
This is a clear structure according to the sound shapes’ motion within the different
parameters of the musical space. On a larger scale, the piece begins with sustained
sounds, progresses to less sustained sounds, becomes pointillistic, and eventually returns
Clearly, the piece is not ordered by interval relations, but rather by the density of
sound within time and space and how that density changes. In this way Penderecki’s
25
Mirka, 239-40.
18
music is quite similar to that of Xenakis. The same conclusion can then be reached – that
the listener understands a structure in the piece according to the changing of timbre. The
difference of Penderecki’s music is that he uses sound shapes more distinctly than
Xenakis, who concentrates his efforts on overall larger masses, although his music
certainly employs similar shapes. This aspect makes Penderecki’s work arguably more
accessible because the sound shapes are heard as units that interact over time, or objects
of development, which are more tangible than the sound fields more common in the
music of Xenakis.
While it has been shown how the work of these two composers relates to
klangfarbenmelodie, it has not yet been mentioned how this relates to the whole of sound
mass music. Within these works, the characteristic elements of sound mass are clearly
displayed. These elements are as follows: the use of dense clusters which obscure the
presence of pitch and bring timbre to the fore, sound shapes which present themselves as
a tangible musical unit, but have no defined pitch, thus making themselves units of
timbre, and formal construction which is based on the development of such shapes and,
more broadly, the varying density of sound in time and musical space, which results in
varying color. These elements also appear in the work of Ligeti, Lutoslawski and others.
They are the elements which make this music, while being approached from such unique
angles, so similar that they should fall under the same label. These composers, while
aware of Schoenberg’s idea, did not set out to fulfill it. Rather, by the re-conception of
music that was the result of electronic music technologies, they succeeded in creating
music that addresses sound apart from its pitch or rhythm, developing a new language
However, it is also important to point out that, although sound-mass is based upon
colors, it does not completely fulfill Schoenberg’s idea, since it does not present a law
governing the progression of sonorities based on their timbre. The musical examples
shown here have dealt in the near total obscuring of pitch, while Schoenberg’s idea
referred to a law structuring harmonic progressions, which would thus take pitch and
interval relations into account. In this way, sound mass might be seen as a heavy-handed,
anymore to develop a new law by which composers could move from one chord to
another.
Yet, Schoenberg was truly suggesting that just as pitches in a melody create a
certain effect in the listener because of their acoustical properties, so complex sonorities
must have an underlying law that governs the affect they have on the listener. While we
certainly understand consonance and dissonance, there has not yet been the unveiling of
any natural law that might explain the dynamics involved in the complex structuring of
chords. Sound-mass has provided an idiom in which colors progress according to a logic
free of the tethers of pitch structures. Maybe a future law that would provide composers
Works Consulted
Ligeti, Gyorgy. Apparitions. 2nd Rev. ed. New York: Universal Edition, 1971.
Ligeti, György, Péter Várnai, Josef Hausler and Claude Samuel. György Ligeti: In
Conversation. London: Eulenburg Books, 1983.
Penderecki, Krzysztof. Anaklasis: for Strings and Percussion Groups. Celle, Germany:
Moeck Verlag, 1960.
Rappoport-Gelfand, Lidia. Musical Life in Poland: The Postwar Years 1945 – 1977. New
York: Gordon and Breach, 1991.
Thomas, Adrian. Polish Music since Szymanowski. Cambridge: University Press, 2005.
Varga, Bálint András. Conversations with Iannis Xenakis. London: Faber and Faber
Ltd., 1996.
Xenakis, Iannis. MetastaseisB. New York: Boosey and Hawkes Ltd., 1967.
Recordings
Penderecki, Krzysztof. Matrix 5. The Polish Radio National Symphony Orchestra and
The London Symphony Orchestra. Krzysztof Penderecki, cond. EMI 7243 5
21
65077 2 2.
Xenakis, Iannis. Metastasis. The Orchestre National De L’O.R.T.F. Maurice Le Roux,
cond. Le Chant Du Monde LDC 278 368
22
k k k k k
k k k k k
Example 2: Opening Cluster Progressing from One Note in Xenakis’ Metastasis.
24
Figure 1: Chart of Glissandi Path in the Cluster Chord at the End of Metastasis.
25