277
Returning with Interest: Bowie, Glass,
and Postmodern Elaboration
CHAPTERfi66
B. Symphony No.4 (Heroes)
1. small borrowings from Bowie/Eno Heroes album
2. six– movement work
a. each based on a theme from Bowie’s album
b. dramatic structure suitable for dance
3. choreographed by Twyla Tharpe
4. performed as a concert piece
5. first movement: recognizable musical ele ments
a. alternation of two chords
b. descending– third motive
c. distinct rhythmic pattern from song’s refrain
C. LG 60: Glass: Symphony No.4 (Heroes), I (1996)
1. form: motive varied through layering and repeti-
tion, contrasting opening and close
2. orchestra with expanded percussion section
3. ideas develop slowly through extended repetition
4. increasingly layered polyphony, contrasting
homophony at opening and close
OVERVIEW
This chapter addresses con temporary postmodern compos–
ers’ openness to reworking previously composed music or to
being inspired by the music of others to create new works.
Philip Glass is a case in point, with his symphonic works
based on material from collaborations between David Bowie
and Brian Eno.
LEARNING OBJECTIVES
1. To understand the reworking of, elaborating on, or draw–
ing of inspiration from previously composed music as
central to the postmodern aesthetic
OUTLINE
I. Returning with Interest
A. Musicians pay homage to earlier composers
1. elaborate on their ideas; new creative perspective
2. art and commercial music cross bound aries
II. David Bowe, Creative Chameleon
A. Inventive singer– composer
1. variety of artistic personas and musical styles
a. folk– rocker, late 1960s
b. jazz– rock– hip– hop fusion
2. groundbreaking albums with Brian Eno
3. Heroes, produced with Eno, 1977
a. electronic “ambient” music influence of Eno
b. influence of minimalism, Steve Reich and
John Adams
c. critical and financial success
d. title song, taken up by other artists (e.g.,
Prince, 2016)
III. Heroes: from Album to “Symphonic Ballet”
A. Philip Glass (b. 1937)
1. prominent con temporary composer
2. leader of the “Downtown NYC” creative group
3. leading exponent of minimalism
a. developed consonant, repetition- based style
b. appealed to wide audience, 1980s, 90s
4. education: Juilliard School of Music, Nadia
Boulanger in Paris
5. 1971, founded the Philip Glass Ensemble
6. diverse influences: Bach, Mozart, Schubert,
Indian musics
7. extensive collaborations with artists in many
media
8. works: operas, song cycle, film scores, chamber
music, concertos, symphonies
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY
Chapman, Ian. Experiencing David Bowie: A Listener’s Compan-
ion. Lanham, MD: Rowman & Littlefield, 2015. Chapter7, “The
Sounds of Eu rope,” focuses on the albums Low, Heroes, and
Lodger.
Maycock, Robert. Glass: A Portrait. London: Sanctuary, 2002. A
listener’s guide to the music of Philip Glass. Scene 3, “Reinvent–
ing Symphonies,” includes a detailed look at uses of Bowie’s
music in Glass’s symphonic works.
YOUR TURN TO EXPLORE
Find a musical work that borrows significantly from earlier
models, whether through digital sampling or reuse of mel–
expressive goals? Do you think the result successfully
“returns with interest”?
MODEL RESPONSE
Reggae, dub, and dancehall are interrelated genres of Jamai–
can popu lar music that draw heavi ly from borrowed material,
either as backing rhythm tracks known as dub plates or as
covers of preexisting songs. U– Roy’s Chalice in the Palace is
a dub plate that borrows from The Impressions’ 1963 song
Minstrel and Queen (Queen Majesty) in the backing rhythm
2. To understand David Bowie as one of the most inventive
using Bowie’s album Heroes as inspiration for his own
Symphony No.4
LECTURE SUGGESTIONS
1. Moderate a class debate about the issues of musical
originality, owner ship, and collaboration, which are
addressed in the chapter introduction. Ask the class to
summarize the postmodern attitude toward original–
2. Play Bowie’s Heroes and lead the class through a discus–
sion of the aspects of this song Glass adapts for the first
movement of his Symphony No.4. How is this use of
existing material dif fer ent from other types of musical
ASSIGNMENT SUGGESTIONS
1. Review David Bowie’s reaction to Glass’s symphony as
given in the quote on p.421 of the textbook. Do you
of Glass’s Symphony No.4 and compare these to Reich’s
Electric Counterpoint. What similarities and differences
do you hear?
TEACHING CHALLENGES
