Final Flashcards
1
Q
Describe Estampes, no. 1 Pagodes
A
- By Claude Debussy
- 1903
- Movement 1 of Estampes for solo piano
- Ensemble: solo piano
- Character piece?
- Genre (entire work): estampes
2
Q
Describe Vielle Prière Bouddhique
A
- By Lili Boulanger
- 1917
- Genre: secular cantata
- Form: ABA (ternary)
- Ensemble: tenor soloist, chorus & orchestra
- Uses a mixture of impressionist musical techniques to create a work intended to sound exotic and primitivist
3
Q
Describe Sonatas and Interludes for Prepared Piano v. Interlude No. 1
A
- By John Cage
- Genre: interlude
- Ensemble: solo piano (prepared piano)
4
Q
Describe Sonatas and Interludes for Prepared Piano vi. Sonata No. 5
A
- By John Cage
- Genre: sonata
- Ensemble: solo piano (prepared piano)
5
Q
Describe Stripsody
A
- By Cathy Berberian
- Performed by Cathy Berberian
- 1966
- Ensemble: solo voice
6
Q
Describe Lux Aeterna
A
- By György Ligeti
- 1966
- Ensemble: scored for 16-part a cappella singers (16-part polyphony)
- Latin and sacred text from the Roman Catholic Requiem Mass (funeral Mass)
- Style: sound-mass composition
- Harmonic language: atonal (atonality)
- Texture: micropolyphony
- Used in Stanley Kubrik’s 1968 film 2001: A Space Odyssey (without composer’s permission)
- Example of neo-classicism that looks back to Medieval music
7
Q
Describe Regina CaeliI
A
- By Vicente Lusitano
- Genre: motet
- Language: Latin (sacred text)
- Ensemble: SATB a cappella
- Texture: imitative polyphony (4 parts)
8
Q
Describe Lasciatemi qui solo
A
- By Francesca Caccini
- Genre: lament aria
- 1618
- Ensemble: soprano voice (soloist) with lute, archlute & bass viola da gamba (basso continuo)
- Language: Italian
9
Q
Describe Symphony No. 5 in C minor, i. Allegro con brio
A
- By Ludwig van Beethoven
- Genre: symphony
- Form: sonata-form (exposition, development, recapitulation)
- Tempo: allegro con brio
10
Q
Describe Notturno (Nocturne) in G Minor
A
- By Fanny Hensel
- Genre: nocturne (character piece)
- Ensemble: solo piano
11
Q
Describe Crouching Tiger, Hidden Dragon (title track excerpt)
A
- By Tan Dun
- 2000
- Genre: film score
- Ensemble: solo cello
- Source music
- Style: minimalistic
12
Q
Describe Ghost Opera, i. Bach, Monks and Shakespeare Meet in Water
A
- By Tan Dun
- 1994
- Genre: 5-movement suite
- Ensemble: string quartet (traditionally classical ensemble) and pipa (Chinese traditional instrument), with water, metal, stone and paper
- Described by the composer as a “reflection on human spirituality, which is too often buried in the bombardment of urban culture and the rapid advances of technology.”
13
Q
Describe Summa
A
- By Arvo Pärt
- 1977
- Genre: Credo (always a ‘Mass movement’, even if a stand-alone concert work, as in this case)
- Text: Latin, sacred text from the Roman Catholic Mass Ordinary
- Ensemble: originally a cappella SATB soloists or chorus, depending on vocal version
- Texture: primarily homorhythmic, yet contrary motion between parts creates polyphonic texture
- Style: postminimalism or spiritual minimalism
14
Q
Describe Cantus in memory of Benjamin Britten
A
- By Arvo Pärt
- 1977
- Genre: symphonic poem
- Ensemble: string orchestra with bell (aka chimes)
- Relevant styles:
- Postminimalism: extremely limited motivic material, limited palette of timbres (strings), etc., although more large and complex than classical minimalism
- Neoclassicism: densely polyphonic, through-composed work for a string orchestra, reminiscent of a typical baroque orchestra (although this one is far larger)
- Also has a strong emotional component -> not necessarily emotionally cold, since it’s a memorial, which is much more a feature of post-minimalism than of classic minimalism
- Written in honor of the great British composer who died in 1976
- The work is very minimal, constructed almost entirely of a single, descending gesture that is repeated over and
over in different parts of the orchestra at various speeds, gradually building to a registral, dynamic and textural climax that is overwhelming and powerful -> minimalist techniques in the hands of an expressive master
15
Q
Describe Concerto Grosso 1985, v. Maestoso
A
- By Ellen Taafe Zwilich
- 1985
- Genre: concerto grosso (Baroque genre)
- Style: neoclassicism and example of quotation music (quotes melody by Handel)
- Ensemble: flute & oboe soloists, with orchestra (primarily strings, also bassoon) and harpsichord -> all instruments common to Baroque orchestra
- Texture: homophonic throughout (soloist with accompaniment, mostly)
- Form: large-scale form of the entire 5-movement work is an arch form or palindrome
- Harmony: post-tonal (diatonic harmony inflected with modernist dissonance)
- Tempo: maestoso
16
Q
Describe impressionism
A
- French stylistic movement
- Developed in late 19th century by painters who tried to capture a first, fleeting image of a subject through innovative use of light, color and perspective
- The surface of reflecting water, the play of light in nature, and the city are popular topics
- Impressionist paintings demonstrate a fascination for continuous change in the appearance of places and things, in the play of changing light, in presenting more or less distinct images and moods with minimally sketched detail
- Impressionism in painting was partly a reaction against the grandiose imagery, dramatic action, and heroic historical themes that inspired late romantic art
- Impressionism in painting was oppositional to the aesthetic of “photographic realism” in much of Europe in the late 19th century
- For the impressionist, recreating the natural world in all its detail through exact and realistic painting was a low form of artistic expression (mere copying) -> impressionism seeks to capture the fragmentary immediacy of human perception
- Stylistically impressionist paintings are characterized by: soft, pastel hues and creatively mixed washes of color, hazy, defuse, indistinct painting style, often resulting in a sketchy surface that lacks minute details yet captures essential elements. The images are not abstract but they lack details.
- Impressionist paintings tend to feature very pretty and pleasant subjects: natural scenes, ballerinas posing, watery settings, gardens in bloom, nudes, and idealized images
of Parisian city life: wet cobble stone streets, the shifting light and colors on a cathedral at different times of day, etc. - Musical impressionism often exploits “exotic scales” of various types, including pentatonic scales, whole-tone scales, octatonic scales, and modes
- Impressionist composer: Debussy
- Lili Boulanger’s musical style is influenced by impressionist and exoticist styles that were prevalent in France during her lifetime
- East Asian images and ideas are common in impressionist works
17
Q
Describe Claude Debussy
A
- 1862-1918
- Always the first composer discussed in histories of modern music
- Arguably the most important French composer of the early 20th century
- Important innovator, especially in the realm of harmonic language and orchestration
- Precocious and musically talented child -> at the age of 11 Debussy entered the Paris Conservatory, where his penchant for innovation set him at odds with the more conservative, academic musical establishment
- He was impressed by Javanese gamelan music he encountered at the 1889 Paris Universal Exhibition, and many have noted gamelan-like elements of Debussy’s music, especially concerning harmony and timbre
- He frequented stylish Parisian literary salons where symbolist writers also gathered
- His primary innovation is his lush harmonic language, which is extremely chromatic without sounding unpleasant -> the harmonies are beautiful although they are rarely “goal-oriented” (moving toward a stable tonic) due to the purposeful avoidance of strong dominant-tonic relationships in favor of more static harmonies
- His music features extended chords
- He preferred short, lyrical (often innovative) musical forms, often with descriptive titles -> trait most easily seen and heard in his character pieces for piano
- His orchestral works tend to avoid classical genres -> many are one-movement works with free forms and descriptive titles
- His instrumental music tends to be programmatic
- He avoided designating any of his orchestral works as a symphony, even if they were one
- His orchestral works use a large and colorful late-romantic orchestra, but the instruments are used in small combinations, creating a rich variety of delicate sounds (many short solos, muted strings and brass, harp glissandi, novel combinations of instruments) -> like painting with sound
18
Q
What’s a symphonic poem?
A
- AKA tone poem
- One-movement work for orchestra with a descriptive title and a free-form (form unique to each piece)
- Tend to be much longer and more substantial -> more like a movement from a symphony
- The free form of such works allowed composers the freedom to design pieces that closely adhered to the form, content, character, etc. of the extra-musical inspiration, making this a particularly Romantic genre from the standpoint of free, individual expression
19
Q
What are the exotic scales?
A
- Pentatonic scale
- Whole-tone scale
- Octatonic scale
- Various Modes
20
Q
What are pentatonic scales?
A
5-note/5-pitch scales of various types
21
Q
What are whole-tone scales?
A
Scale in which every interval is a whole step
22
Q
What are the dates of World War I?
A
1914-1918
23
Q
What are the dates of World War II?
A
1939-1945
24
Q
What’s modernism?
A
- Very broad style term -> too broad to be useful
- Ambiguous but often used style term that encompasses a variety of specific innovative stylistic developments that occurred in the first half of the 20th century
- All of the composers and styles from ~1900-1945 have been described as “modernist”
- Some of the most important precursors to modernism are the innovations of Claude Debussy
25
Q
What’s primitivism?
A
- Artistic style and movement that imitated and emulated the artworks of various non-European cultures, particularly those considered to be in a ‘lesser stage’ of cultural development, in an attempt to express less refined and more genuine feelings, a vision of ‘humanity in its infancy’
- Basically a subcategory of exoticism
- Combined escapist fantasy with rejection of modern European society ~1900, where egalitarian visions of the Enlightenment and promised prosperity of the Industrial Revolution had resulted in an urban landscape many found bleak, dehumanizing, unhealthy, and ‘unnatural’
- Edgar Rice Burrough’s Tarzan of the Apes (1912) provides an example in literature
- Paul Gauguin was an innovative French painter and sculptor, and an important representative of primitivism in the visual arts -> style of painting that abandoned
perspective and realism, and employed block-like forms in simple, often surreal colors. The apparent crudity of the technique (ex: the roughly sketched, darkly outlined images) represents a self-conscious renunciation of the refined, photo-realistic techniques and tastes of urban, industrial Europe - In music, primitivism is primarily about rhythm -> percussions play an important role
- Stravinsky’s pieces include primitivism
- Primitivist characteristics in music: title referring to “primitive” peoples, emphasis on rhythm, prominent dissonance throughout, dancing as typical activity in exotic depictions, extreme dynamics (particularly very loud), use of extreme piano range, etc.
26
Q
Describe avant-garde
A
- Avant-garde aesthetic: in search of the new
- Avant-garde art often questions fundamental assumptions or serves as an example of a particular philosophical stance
- Some styles of new art can be very challenging for both performers and audiences, and radical new works have often alienated both
- Sometimes, the point of a work of art can be to pose a question that has never been asked before, to make the viewer and/or listener aware of their own preconceived notions of art and beauty, to push boundaries
- John Cage = guru of the Avant-Garde
- Examples of avant-garde techniques: atonality, aleatory, graphic scores, minimalism, etc.
27
Q
Describe exoticism
A
- Style term
- Desire among composers and other artists to recreate, represent, and/or celebrate a foreign ethnic or national identity (or scene) within their artistic creations
- Exotic works provide reductive and voyeuristic fictions based more on the expectations of the audience than on real knowledge of the foreign peoples fictionalized
- Despite post-colonial criticisms, exoticism has long been and remains very compelling and popular in all genres of instrumental music and opera (and film)
- Ex: Lili Boulanger’s Vielle prière bouddhique, Verdi’s opera Aïda, Puccini’s Madama Butterfly
28
Q
Describe Igor Stravinsky
A
- 1882-1971
- Russian-born composer
- Became famous in Paris just before WWI for his ballet scores
- Later became an American citizen (1945)
- Arguably one of the 2 or 3 most important and influential composers of Western art music in the 20th century
- Commissioned by the great impresario Diaghilev to write 3 important ballets for the Ballet Russe (Russian Ballet) who were at that time dominating the ballet scene in Paris:
- Wrote The Firebird (1910), Petrushka (1911), & Le sacre du printemps (1913)
- Stravinsky and his family sought refuge in Switzerland in 1914 (start of WWI), then moved back to France until the outbreak of WWII (1939), at which time he was forced to flee again
- Due to the success of his ballet scores and later works, he was an international celebrity in the 1920s & 30s, traveling in both Europe and the US, composing on commission and conducting his own works
- At the start of WWII he moved to the US, where he lived for the rest of his life, settling near LA and becoming a US citizen
- He experimented with neoclassicism in his works composed after ~1920
29
Q
Describe the Rite of Spring
A
- 1913
- Genre: ballet score
- Uses block form
- Part of the Ballet Russe (Russian Ballet)
- Choreographed by progressive Russian dancer Vaslav Nijinsky
- The Ballet Russe performed the world premiere of Le sacre in Paris (1913) before a shocked and scandalized audience, who were more accustomed to the refined grace and accessibly exotic music of French, late romantic ballet in the classical style (ex: Tchaikovsky)
- The premiere resulted in a very famous riot, which enraged Stravinsky and culminated in various lawsuits for acts of petty violence, but subsequent performances elsewhere were received more decorously
30
Q
What’s a ballet score?
A
- Proper term (genre designation) for the music alone in the ballet genre
- Ex: The Rite of Spring
31
Q
What’s block form?
A
- Structure of the work is comprised of abrupt juxtapositions of differing musical tableaux, purposefully suggesting a “crude” craftsmanship
- Sometimes the contrasting musical material is simply layered one atop another
32
Q
What’s a ballet?
A
- Genre
- As a genre, it includes both the dance (choreography) and music
33
Q
What’s a choreography?
A
- The proper term (genre designation) for the dance alone in the ballet genre
- The choreographer is responsible for creating the dance itself (the actions of the dancers)
34
Q
What’s commission?
A
- Sum of money paid to an artist (composer) in advance to facilitate the creation of a new work for a specific ensemble, performance, occasion, etc.
- ‘Commissioned work’
35
Q
What’s pizzicato?
A
- String-playing technique
- AKA Bartók pizzicato
- Plucking the string of a bowed-string instrument so hard that it snaps back against the fingerboard, making a percussive sound
36
Q
What’s neoclassicism?
A
- Style term
- Intentional use of genres & styles from previous style periods (especially the Baroque and Classical Eras) in works of the 20th century
- Reaction against late romanticism and impressionism
- Neoclassic composers looked back to and consciously imitated some aspects (forms, genres, ensemble types, etc.) of 18th-century music (music of the High Baroque Era -> J. S. Bach)
- After WWI, neoclassicism was a reaction against all aspects of the previous romantic aesthetic, which had involved nationalism and a focus on subjective personal expression
- Neoclassic works by Stravinsky and others show a preference for non-programmatic genres -> preferred absolute music
- Much neoclassic music was intended to be an objective musical expression free from all non-musical associations
- Ligeti’s Lux Aeterna is an example of neoclassicism that looks back to Medieval music
37
Q
What are extended techniques?
A
- Any innovative, unconventional manner of producing a sound on an otherwise conventional instrument
- Ex: screaming into a trombone, making kissy-face sounds into an amplified flute, opening a piano and playing on the strings, or smashing an electric guitar on stage (a dramatic act that also creates a distinct sound)
- The use of extended techniques often has both sonic and dramatic effects
- Ex: string harmonics, col legno, Cage’s prepared piano, Berio’s Sequenza III, Berio’s Sinfonia
38
Q
Describe expressionism
A
- Style of art, music, and theater, especially associated with Germany and Scandinavia between 1880-1925
- Often stresses intense, subjective emotion, isolation, madness, or some extreme and/or deranged psychological state
- Stylistic reaction against the pleasant subjects and soft pastel colors of impressionism and the realism of southern European Romantic art
- Expressionist painters used bright, clashing colors, infused with darkness, colors that are wrong, disturbing, and suggestive of psychic violence
- Often painted the canvas black to start
- Expressionist artworks often involve distortions of both color and form, creating a sense of unease, and an altered perception of reality
- Ex: Edvard Munch’s “The Scream”
- Can be a form of social protest & commentary, depicting the horrors of war, the despair of poverty & disease, man’s inhumanity to man
- Expressionism has been disparaged as “the aesthetic of ugliness”
- Expressionist artists described their work as a search for brutal honesty and alternative forms of beauty
- Arnold Schoenberg was an expressionist musical composer (atonal music)
39
Q
Describe Arnold Schoenberg
A
- 1874-1951
- Austrian Jewish composer, most associated with Vienna before he emigrated to the US to escape the Nazi rise to power
- Arguably one of the 2 most important composers of the 20th century
- Influential teacher, author of primary texts, and innovator whose music (atonal music) became one of several trends of modernism
- Influenced by the highly chromatic, innovative music of German late-Romantic composers (Brahms, Bruckner, Wagner), and like them, saw J.S. Bach and Beethoven as musical forefathers
- He “abandoned tonality” altogether ~1908, composing the first works of atonal music, in the forms and genres of art songs, string quartets, and orchestral works
- His music was highly rejected by many of his contemporaries
- His music, and that of his students, were banned by the Nazis
- Forced to emigrate to the US in the late 1930s and taught music composition and basic theory at University of California LA late in his life -> one of his students was John Cage
- In 1922, he announced his invention of 12-tone composition -> introduced this new concept as a refinement to address a ‘flaw’ with his previous atonal idiom
40
Q
What are the 4 basic functions of movie music?
A
- Establishes mood of scene or characters: informing and manipulating the listener through choices of musical style, harmonic language, timbre (ensemble and scoring), and use of common musical tropes (water music, battle music, love music, etc.)
- Sets time and place of action (also through the use or musical tropes)
- ‘Running counter to the action’: use of music that is inappropriate for or emotionally distant from the dramatic action, which often has the effect of intensifying the affect, or perhaps of creating a sense of dislocation, alienation, or a dissociative psychological state. Popular technique in modern theater and film (ex: Tarantino) and examples can also be found in late Romantic opera
- Character establishment/development: often accomplished through the use of leitmotifs
41
Q
What’s atonal music?
A
- AKA atonality/pantonal music/“free atonality”
- Harmony term
- Schoenberg referred to the advent of atonal music as “the emancipation of dissonance” -> in his atonal music, dissonance is used freely and intuitively, with no governing rules of harmony
- Atonality is a term for harmonic language (not style, genre or form), and involves the intentional avoidance of any pitch center (atonal = no tonic) through the careful avoidance of chord patterns common in tonal music
- In atonal music all 12 pitches of the equal-tempered octave may be used at any time and in any combination: it’s the epitome of a completely intuitive, chromatic music
- Problem: how does a composer create coherent musical forms without using “key areas” (the major and minor keys used in tonal music) as a basis? How does one know when a piece of music is finished, if there’s no return to tonic?
- Bartok used atonality in his pieces
42
Q
What’s ethnomusicology?
A
- Area of academic study/academic discipline
- The scientific study, collection, and classification of music from non-Western cultures (outside the ‘art music’ tradition)
- Vibrant, valuable, and diverse area of scholarly endeavor well represented today in many international universities
- Historical origins of ethnomusicology must be viewed in the context of late-Romantic and modernist ideologies of nationalism and primitivism, aesthetic ideals that emphasized the recovery and preservation of ‘folk’ traditions as a source of ‘original inspiration’ rooted in the common heritage of a specific national or ethnic group
- Bartok was an important scholar who did groundbreaking fieldwork in remote peasant villages of the Austro-Hungarian Empire, recording and studying ethnic (and usually orally transmitted or ‘unwritten’) musical traditions -> compiled more than 10,000 Romanian, Slovak, and Hungarian folksongs
43
Q
Describe Béla Bartôk
A
- 1881-1945
- Hungarian composer, pianist, professor at the Budapest Academy of Music, and pioneering scholar of ethnic music
- Toured throughout Europe as a concert pianist during the early 1900s, although few of his works were published before 1918
- Important scholar who did groundbreaking fieldwork in remote peasant villages of the Austro-Hungarian Empire, recording and studying ethnic (and usually orally transmitted or ‘unwritten’) musical traditions -> compiled more than 10,000 Romanian, Slovak, and Hungarian folksongs
- In 1940 he immigrated to the US, where he performed and conducted ethnomusicological research for Columbia University
- There he expanded his studies of ethnic music to include countries in the Middle East and elsewhere
- Although Bartók rarely quoted folk music in his works, he frequently used the rhythms, harmonic language, and other elements of the folk styles he studied, integrating these elements into his own, distinctive style
- Bartók cultivated a markedly individual approach to neoclassicism, and his works frequently feature ensembles, forms and textures reminiscent of the early 18th century (Baroque Era)
44
Q
What’s a tone cluster?
A
- In Cowell’s music, a tone cluster is a chord that uses every pitch (on the piano, depresses every key) between 2 notated pitches
- Playing tone clusters can require the fist, open hand, or forearm
- Cowell’s music frequently employs tone clusters, heard in many of his character pieces
45
Q
What’s the string piano?
A
- Invented by Henry Cowell
- Henry Cowell’s most influential innovation was the creation of the string piano
- With the string piano, the performer isn’t restricted to playing the keys but also reaches inside the opened piano to manipulate the strings by plucking, scraping, scratching, etc.
- Many of Cowell’s character pieces (ex: The Banshee) are for string piano
46
Q
Describe John Cage
A
- 1912 - 1992
- Guru of the Avant-Garde
- Influential American avant-garde composer, philosopher, author, lecturer, and visual artist
- Cult hero of the international avant-garde whose conceptual music has been influential in both “classical-art” and popular music
- He was a student of Arnold Schoenberg while at University of California in LA
- Although impressed with Cage as an original thinker, Schoenberg doubted Cage’s future as a composer
- Deeply influenced by the sounds and spiritual teachings of diverse non-Western cultures: percussion music, the sounds of the Indonesian gamelan, and especially the teachings of Zen Buddhism
- Important early composer for percussion ensemble in the late 1930s and early 1940s
- He referred to percussion music as the “all-sound music of the future . . . because all sounds are acceptable to the composer of percussion music”
- Under the influence of Henry Cowell’s string piano, he created the prepared piano
- He composed works for prepared piano in various classical-romantic genres (including sonatas, interludes, character pieces, concertos, etc.) and some of his works defy a clear genre description
- Important advocate of aleatory or aleatoric music (aka indeterminacy or chance music)
- He created and advocated for a type of performance known as the multi-media happening -> he often called for multiple of his pieces to be performed simultaneously in concert
- He is inviting us to live the life we are living, to pay attention to each moment, each sound -> he challenges us to see ourselves in our everyday life as artists
- He loved sounds
47
Q
Describe 4’33”
A
- By John Cage
- 1952
- Important and controversial work
- Pronounced 4 minutes and 33 seconds
- Inspired by painter Robert Rauschenberg’s all-white canvases
- The first version of the work was for solo pianist
- At the first performance of this work, David Tudor, a pianist who was a friend of Cage, walked out on stage, sat at the piano, started a stopwatch, and then proceeded to sit there and make no intentional sounds for 4 mins 33 secs
- He often structured his pieces using precise timings -> stopwatch is often necessary for an accurate performance
- He titled many of his pieces with the amount of time required, avoiding any reference to musical genre
- This piece has become a cult classic, and celebrations of avant-garde music have contained numerous performances of it for every type of ensemble imaginable
48
Q
What’s the percussion ensemble?
A
- Cage was an important early composer for percussion ensemble in the late 1930s and early 1940s
- He referred to percussion music as the “all-sound music of the future . . . because all sounds are acceptable to the composer of percussion music”
- General rule: if you see “western classical art music” played by an ensemble of nothing but percussion (or that prominently features percussion) then the piece is definitely from post-1920
49
Q
What’s a prepared piano?
A
- Under the influence of Henry Cowell’s string piano, Cage created the prepared piano
- Type of extended technique for piano accomplished by inserting objects between the piano’s strings according to the composer’s specific instructions
- Cage composed works for prepared piano in various classical-romantic genres (including sonatas, interludes, character pieces, concertos, etc.) and some of his works defy a clear genre description
50
Q
What’s aleatoric music?
A
- AKA aleatory/indeterminacy/chance music
- The intentional introduction of random elements during the composition and/or performance of a piece of music
- An aleatoric piece of music will contain something that’s not predictable by the composer while she is creating the piece or by the performer(s) while realizing it in sound
- Cage was an advocate of aleatory music
- Musical scores ~1900 contain many precise instructions for nearly every aspect of producing a sound -> aleatoric music demonstrates a disdain for such fussy details
- Constitutes one of the most important “anti-Romantic reactions” to occur in art in the post-1945 avant-garde
- Aleatoric music represents letting go of the control found in Romantic music
- Such works often allow the inclusion of any sounds (and silences) into the musical work, even those usually identified as noise or which might be accidental during the performance
51
Q
Aleatoric elements can become part of a piece of music at one or both of what 2 stages?
A
- During composition: when the piece is first being created by the composer
- During performance: when the performer(s) attempts to realize the work in sound (and silence)
