Guide to the Contemporary Harp

Hélène Breschand, Aurélie Barbé, Laurence Bancaud, Mathilde Aubat-Andrieu

Description

Harps and harp music have enjoyed a renaissance over the past century and today can be heard in a broad array of musical contexts. Guide to the Contemporary Harp is a comprehensive resource that examines the vibrant present-day landscape of the harp. The authors explore the instrument from all angles, beginning with organology; moving through composition, notation, and playing techniques; and concluding with the contemporary repertoire for the harp. The rapid diversification in these areas of harp performance is the result of both technological innovations in harp making, which have produced the electric harp and MIDI harp, and innovative composers and players. These new instruments and techniques have broadened the concept of what is possible and what constitutes harp music for today. Guide to the Contemporary Harp is an essential guide for any harpist looking to push the instrument and its music to new heights.

Preface

Acknowledgements

Introduction

1. Organology

I. Historical Reminders

II. The Pedal Harp

General Characteristics

The Parts of the Harp

The Strings

The Pedals and the Modulation Mechanism

"Using the Pedals"

Pedal Notation

Playing the Harp

III. The Lever Harp

General Characteristics

The Strings

Levers and the Modulation Mechanism

Playing the Lever Harp

IV. Electric Harps

The Electroacoustic Harp

The Electric Harp

The Electric-Acoustic Harp

V. Some 21st Century Creations

The MIDI Harp

The Automatic Harp

2. Writing and Language

I. Notations

Measured Notation

Unmeasured Notation

Proportional Notation

Introduction of the Aleatory Element (Indeterminacy)

Open Works

Combination of Several Notations

Superposition of Different Tempi

Writing on Several Staves

Writing with Another System than the Five-Line Stave

Graphic Scores

II. Dramatized Writings

Micro-Choreography, Theatrical Gestures

Dramaturgic Use of the Voice

Use of the Sung Voice, with No Theatrical Indication

Use of the Spoken and/or the Sung Voice with No Text

III. Mixed Forms of Music

Some Works for Harp and Extensions

3. Playing Techniques

I. Timbre

"Près de la table" (Near the Soundboard)

"Bas dans les cordes" (Low in the Strings)

"Près des chevilles" (Near the Tuning Pins)

Harmonic Sound

Sound Using the Fingernail

Koto Sound

Plucked Sound

Vibrated Sound

Portando From One Pitch to Another

Xylo Sound

Pizzicato (Pizz.)

Bartók Pizzicato

Normal Position

Bisbigliando

Tone-Color Melody (Klangfarbenmelodie)

II. Glissandi, Chords and Clusters

Single Glissando

Fast Glissando

Multiple Glissando

Pitchless Glissandi

Flat, Broken, Arpeggiated/Rolled Chords

Cluster Glissando

Rasgueado

Cluster Glissando with Thunder Effect

Cluster

Muffled Cluster

Tremolo Cluster

Aeolian Cluster

Various Forms of Rubbing

III. Resonances, muffles and silences

Muffles

Let Vibrate

Fermata

IV. Hits on the harp

Different Types of Hits

Which Part of the Harp to Hit?

Composers Who Have Elaborated a Detailed Notation for Hits

V. Wire strings

Whistling Sound (with the Palm of the Hand)

Wired Sound (Grabbing a Wire String with the fingers)

Scrape with a Nail or a Plectrum

Buzz

Thunder Effect

Sustained Thunder Effect

VI. Pedals and Levers

Pedal Glissando

Pedal Trill

Rhythmic Effect with Pedals

Pedal Movement Ad Libitum with Sound Effect

Pedal Buzz

Resonant Pedal Sound

Levers

Thunder Effect

VII. Using Objects

Metal Rod

Stick

Use of Percussion Instruments by the Harpist

Bow

Electronic Bow

Plectrum

Other Objects

Prepared Harp

Inserting Materials Between the Strings (Foam, Paper, Cardboard, Textile, Rubber, Elastic Band, etc.)

VIII. Scordatura

Pedal Harp

Lever Harp

Two Harps

Conclusion

Significant Landmarks

List of Notations

Bibliography

The History of Music in the 20th and 21st Centuries

Contemporary Notation

Musical Instruments, The Orchestra

The Harp

Internet Sites

Repertoire of Works for Harp

Solo Harp

Harp and Extensions

Lever Harp

Lever Harp and Extensions

Duets and Harp Ensembles

Concertos

Duets

Trios

Quartets and More

Ensembles and Extensions

Index of Composers Quoted

Index of Playing Techniques

Sujets

• Musique
• Technique musicale
• Technique musicale
• Techniques musicales
• Technique
• Music
• Heinz Holliger
• Référence
• Electric
• Strings
• Circle
• Electricity
• String instrument
• Self-help
• Multiple signal classification
• Reference
• Musical instrument
• Techniques
• Musical Instruments

Informations

• Publié par: Indiana University Press
• Date de parution: 11 février 2019
• Nombre de lectures: 6
• EAN13: 9780253039415
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

GUIDE TO THE
CONTEMPORARY HARP
Mathilde Aubat-Andrieu
Laurence Bancaud
Aur lie Barb
H l ne Breschand
TRANSLATED FROM FRENCH BY
Lilian Rossi and Jean Rossi
GUIDE TO THE CONTEMPORARY HARP
INDIANA UNIVERSITY PRESS
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
English language edition 2019
by Indiana University Press
La harpe aux XXe et XXIe si cles
ditions Minerve 2013
The present work was published in French with the support of the Francis and Mica Salabert Foundation .
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Names: Aubat-Andrieu, Mathilde, author.
Title: Guide to the contemporary harp / Mathilde Aubat-Andrieu [and 3 others] ; translated from French by Lilian Rossi and Jean Rossi.
Other titles: Harpe aux XXe et XXIe siecles. English
Description: Bloomington : Indiana University Press, 2019. Includes bibliographical references and index.
Identifiers: LCCN 2018033296 (print) LCCN 2018035092 (ebook) ISBN 9780253039392 (e-book) ISBN 9780253039378 (hardback : alk. paper) ISBN 9780253039385 (pbk. : alk. paper)
Subjects: LCSH: Harp-History-20th century. Harp-History-21st century.
Classification: LCC ML1005 (ebook) LCC ML1005 .A8313 2019 (print) DDC 787.9/5-dc23
LC record available at https://lccn.loc.gov/2018033296
1 2 3 4 5 24 23 22 21 20 19
CONTENTS
Preface
Acknowledgments
Introduction
1. Organology
I. Historical Background
II. The Pedal Harp
General Characteristics
The Parts of the Harp
The Strings
The Pedals and the Modulation Mechanism
Using the Pedals
Pedal Notation
Playing the Harp
III. The Lever Harp
General Characteristics
The Strings
Levers and the Modulation Mechanism
Playing the Lever Harp
IV. Electric Harps
The Electroacoustic Harp
The Electric Harp
The Electric-Acoustic Harp
V. Some Twenty-First-Century Creations
The MIDI Harp
The Automatic Harp
2. Writing and Language
I. Notation
Measured Notation
Unmeasured Notation
Proportional Notation
Introduction of the Aleatory Element (Indeterminacy)
Open Works
Combination of Several Notations
Superposition of Different Tempi
Writing on Several Staves
Writing with a System Other than the Five-Line Stave
Graphic Scores
II. Dramatized Writings
Microchoreography, Theatrical Gestures
Dramaturgic Use of the Voice
Use of the Sung Voice, with No Theatrical Indication
Use of the Spoken and the Sung Voice with No Text
III. Mixed Forms of Music
Some Works for Harp and Extensions
3. Playing Techniques
I. Timbre
Pr s de la table (Near the Soundboard)
Bas dans les cordes (Low in the Strings)
Pr s des chevilles (Near the Tuning Pins)
Harmonic Sound
Sound Using the Fingernail
Koto Sound
Plucked Sound
Vibrated Sound
Portando from One Pitch to Another
Xylo Sound
Pizzicato (Pizz.)
Bart k Pizzicato
Normal Position
Bisbigliando
Tone-Color Melody (Klangfarbenmelodie)
II. Glissandi, Chords, and Clusters
Single Glissando
Fast Glissando
Multiple Glissando
Pitchless Glissandi
Flat, Broken, Arpeggiated/Rolled Chords
Cluster Glissando
Rasgueado
Cluster Glissando with Thunder Effect
Cluster
Muffled Cluster
Tremolo Cluster
Aeolian Cluster
Various Forms of Rubbing
III. Resonances, Muffles, and Silences
Muffles
Let Vibrate
Fermata
IV. Hits on the Harp
Different Types of Hits
Which Part of the Harp to Hit
Composers Who Have Elaborated a Detailed Notation for Hits
V. Wire Strings
Whistling Sound (With the Palm of the Hand)
Wired Sound (Grabbing a Wire String with the Fingers)
Scrape with a Nail or a Plectrum
Buzz
Thunder Effect
Sustained Thunder Effect
VI. Pedals and Levers
Pedal Glissando
Pedal Trill
Rhythmic Effect with Pedals
Pedal Movement Ad Libitum with Sound Effect
Pedal Buzz
Resonant Pedal Sound
Levers
Thunder Effect
VII. Using Objects
Metal Rod
Stick
Specific Effects Obtained with a Superball
Use of Percussion Instruments by the Harpist
Bow
Electronic Bow
Plectrum
Other Objects
Prepared Harp
Inserting Materials between the Strings
VIII. Scordatura
Pedal Harp
Lever Harp
Two Harps
Conclusion
Timeline of the Harp, 1900-Present
List of Notations
Bibliography
The History of Music in the Twentieth and Twenty-First Centuries
Contemporary Notation
Musical Instruments: The Orchestra
The Harp
Websites
Repertoire of Works for Harp
Solo Harp
Harp and Extensions Lever Harp
Lever Harp and Extensions
Duets and Harp Ensembles
Concertos
Duets
Trios
Quartets and More
Ensembles and Extensions
Index of Composers Quoted
Index of Playing Techniques
PREFACE
F OR MORE THAN fifty years, contemporary musical composition has seen a considerable increase in ways to extend the possibilities of each instrument. The work carried out by Mathilde Aubat-Andrieu, Aur lie Barb , Laurence Bancaud, and H l ne Breschand enables the reader to become fully aware of the potential of the harp, one instrument in particular that has given rise to an extremely rich output of soloist and chamber music works since the 1950s. Such works are all the more far-reaching as they concern not only the pedal harp but also the lever harp and such electroacoustic extensions as are able to amplify, transform, and enlarge the range of the original sound source.
It is not the aim of the authors, however, merely to make an inventory of the various types of effects observed but to examine to what extent a different mode of striking up or a new tone color may be in keeping with the acoustic logic of the instrument and broaden its capacities. Nor is there any question of favoring one particular aesthetic trend. Indeed, the approach to this study displays the genuine open-mindedness that is a requisite for the discovery by future composers and performers of a new field of thought and the path to fruitful experimentation.
One of the inevitable problems that arise when a new sound element, outside the norms of conventional composition, is presented is finding an adequate notation sign. I feel that the choice made by the authors of the present work is quite apt; in fact, various signs invented by different composers are usually given to translate one specific sound element. The reader will not be overwhelmed by an excessive number of examples that are sometimes merely made up of variants. On the other hand, he or she cannot fail to see that the choice of graphic to illustrate a desired result is far from being neutral. Thus there can be no question of a wish to standardize at any cost the current norms of contemporary notation. It is also much more profitable to observe the solutions adopted by several composers in relation to their artistic aim. To be sure, a selection had to be made, and the authors have opted for a presentation of types of notation deemed to be the most appropriate for the problems in hand. Similarly, and along with those signs relating to the harp, questions about fixity and mobility as observed in certain contemporary scores have been included.
It is essential for composers to be able to consult a work that can help them pinpoint the properties of each instrument. As a teacher of musical composition, I have always found it essential to begin by informing my students of those books that will enable them to understand the concrete reality of each instrument from both a technical and aesthetic point of view. For the harp, such a tool has been sadly lacking, mainly because of the considerable evolution that has taken place in the last few decades. This book will fill such a gap. I hope that it will inspire young composers to explore the harp in a relevant and inventive way and enable young performers to cease regarding new notations as an insurmountable stumbling block.
Jean-Yves Bosseur
Composer
Director of Research at the Centre National de la
Recherche Scientifique (National Centre of Scientific Research)
ACKNOWLEDGMENTS
O UR HEARTFELT THANKS go to the following persons for their invaluable assistance throughout the writing of this book:
Ivane B atrice Bellocq, Sylvie Beltrando, Philippe Bonnet, Jean-Yves Bosseur, Florence Bourdon, Fr d rique Cambreling, Gilles Carr , Bernard Cavanna, Bertrand Chavarri -Aldrete, Isabelle Daups, Rhodri Davies, F licit De Lalande, Fran ois Decarsin, Anne Dessus, Bernard de Vienne, Mary Fata, Martine Flaissier, Marie-H l ne Fournier, Jakez Fran ois, Vanessa Gerkens, Bruno Giner, Bastien Golliard, B atrice Guillermin, June Han, Ursula Holliger, Sonja Inglefield, Philippe Leroux, Anja Linder, Zad Moultaka, Xenia Narati, Jean-Pierre N r , Ghislaine Petit-Volta, Mich le Reverdy, Fran ois Ross , Christophe Sauni re, Philippe Schoeller, Michel Sendrez, Kazuko Gao Shinozaki, Ayako Shinozaki, Isabelle Spiers, Ernestine Stoop, Brigitte Sylvestre, Christophe Truant, Angelica Vazquez, Claire Vial, Ann Yeung
Laure Marcel-Berlioz, Corinne Monceau, and all the CDMC team
Germaine Tissier-Grandpierre Foundation
GUIDE TO THE
CONTEMPORARY HARP
INTRODUCTION
Works of art change the course of history!
-Karlheinz Stockhausen 1
L UCIANO B ERIO SAID the following of the harp, as played by French American harpist Carlos Salzedo (1883-1961): Traditionally, the harp is a feminine instrument: one always imagines a beautiful girl with Melisande-like hair, hal