George Frederick McKay · section 93 of 111

Frontiers

Throughout the future the fundamental need for new tonal interest will stimulate a search for new resources in timbre differentiation. The tendency toward expanded units, explored in Project 34, is only one of the “frontiers” of tonal interest. Other newer techniques still in early stages of exploration are: fuller and more subtle use of percussion instruments; total mixture (horizontal); total mixture (vertical); “music concrete”; electronic music, and the addition of human voices, as wordless timbres, to the orchestral sound. Every young musician will certainly want to explore these developing areas.

There is some possibility that these new resources are partially overrated, and that they may turn out to be not “revolutionary” but only “evolutionary.” The various new effects and resources may not replace the effects of the traditional orchestra, but may only merge into a total technique, with all the established instruments still playing their fundamental and nourishing roles.

Nevertheless, the composers who have been most strikingly inventive and who have therefore dominated the realm of famous orchestrators are those like Berlioz, Wagner and Debussy, who kept abreast of mechanical improvements and opportunities and turned them into musical magic. Beethoven, in his day, also drove players to new levels of technical skill by demanding increased independence and writing works of more technical difficulty.

Although no specific technical projects are offered, it is recommended that the study of orchestration include experimentation in these several “frontier” areas. If electronic devices are not available, voung composers might band together to procure equipment and initiate joint experimental projects.