We argue, though, that an analysis of Black Angels’ performance and reception does not fully do justice to Crumb’s piece. Its religious character thus resides in the transcendental invocation of nature through the playing of music. ![]() Crumb’s use of archaisms in the composition of the piece- numerology, cyclicality, and repetition-complemented the writer’s attempt to make music a repository of nature and of the sounds of primitive man. In this quartet, Crumb employed stringed instruments to invoke the sounds of nature along with extended vocal techniques-shouting, chanting, whistling, whispering, gongs, maracas, and glass-to powerful and terrifying effects. This paper analyzes the intersection of religiosity and music composition in George Crumb’s quartet Black Angels: Thirteen Images from the Dark Land and its implications for its teaching and thus its cultural reproduction. ![]() “Transcendence and Religiosity: Compositional Elements in the Writing of George Crumb's ‘Black Angels’” Ang-Cheng Kris Ho 1, 2+ 1īeijing Normal University-Hong Kong Baptist University United International College 2 Beijing Normal University-Hong Baptist University United International CollegeĪbstract.
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