4 Analysis: the harmonic language of

10.5.2 Calculating the details of a sound mass 10.5.3 Analysis of Herma (1961) for piano solo

307 311 10.5.4 Criticism 314 11. Spectral music 316 11.1 The origin of spectral music 317 11.2 The theory 320 11.3 Applications 322 11.4 Analysis: the harmonic language of Tristan Murail’s Dèsintégrations 324 12. An American competitor: the pitch-class set theory 329 12.1 Introduction 329 12.2 Principles of the pitch-class sets 329

12.3 Overview of the ways to manipulate the series of numbers 330 13. Electronic music 332 13.1 Introduction 332 13.2 Electronics outside of classical music 333 13.3 Classical music 335 13.4 The studios 335 13.5 Desirable or undesirable consequences? 337 13.6 Live electronics 338 13.7 Instruments 339 13.8 The modern orchestra 341

CHAPTER VI HYBRID MUSIC

345

1. Introduction 345 2. Charles Ives 347 2.1 Introduction 347 2.2 Analysis of The Fourth of July 348 3. After World War II 356 3.1 Postmodernism in philosophy 356 3.2 Postmodernism in architecture and design 357 3.3 Postmodernism in painting 359 3.4 Postmodernism in film 359 3.5 Postmodernism in music 360 3.6 Summary 362 4. Some remarks on Berio: Sinfonia 362 4.1 Introduction 362 4.1 The Swingle Singers 363 4.2 Mahler 363 4.3 The use of texts 364 4.4 The third part of Sinfonia 365 5. Pluramon, Hymunion in Harmondy 366