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Slide 1: Music: An Appreciation 9th Edition by Roger Kamien Part VII The Twentieth Century and Beyond
Slide 2: Time-line—The 20th Century • • • • • • • • • • • • • • Freud: Interpretation of Dreams—1900 Wright brothers: first powered flight—1903 Einstein: special theory of relativity—1905 First World War—1914-1918 Russian Revolution begins—1917 Great Depression begins—1929 Second World War—1939-1945 Atomic Bomb destroys Hiroshima—1945 Korean War—1950-1953 Crick & Watson: structure of DNA—1953 Vietnam War—1955-1975 President Kennedy assassinated—1963 American astronauts land on moon—1969 Dissolution of the Soviet Union—1991
Slide 3: • 20th Century Developments Violence & progress are hallmarks • 1st half—hardship and destruction • 2nd half—break up of colonial empires • Many smaller wars fueled by cold war tactics • Armed, violent conflicts • Two World Wars brought terrible new weapons • Between wars boom/bust economic cycle • Multiple smaller scale wars erupt worldwide • Extended cold war between US and USSR • Unprecedented rapid economic growth • Accelerated developments technologically and economically • Widespread gain in principle of equal rights • Rapid technology & science advancement • Sound recording, movies, radio, television, satellites, computers, & Internet alter society
Slide 4: 20th Century Developments • • • • • Rapid, radical changes in the arts also occur • Shock value becomes goal of many art forms Modern dance clashes with classical ballet Picasso and cubism present distorted views as artwork Kandinsky & others no longer try to represent visual world Expressionists—deliberate distortion/ugliness as protest • Contradictory styles and tendencies coexisted • Individual artists alternate between traditional & radical styles • Summary: • US shapes world culture, new artistic world center-NY and LA • Nonwestern culture & thought affect all arts-Japan, Africa, etc • New technologies stimulate artists—new art forms • Artists explore human sexuality—extremely frank • More opportunities for women, African-American, and minority artists/composers than ever before • Artists express reaction to wars/massacres in art • Plastic, fluorescent lights, concrete, steel, audiotapes, electric guitars and computers • Since 1960’s, pop-art begins to replace elitist art (seriousness of modernism)
Slide 5: Ch. 1: Musical Styles: 1900-1945 • 1st 13 years brought radical changes • Seen as time of revolt & revolution in music • Composers broke with tradition & rules • More changes in language of music since baroque era • So much so that sometimes they were met with hostility • Rules came to be unique to each piece • Some reviewers said the new music had no relationship to music at all • 1913 performance of The Rite of Spring caused riot • Sounds that were foreign to turn of the century ears are common to us now • Key, pitch center, and harmonic progression practices of the past were mostly abandoned • Since 1900, no single system has governed the organization of pitch material in musical compositions • Open-minded listening, without pre-established expectations of previous musical practice, provides an opportunity for musical adventure
Slide 6: 1900-1945: An Age of Musical Diversity • Vast range of musical styles during this time • Intensifying of the diversity seen in Romantic • Radical changes of style even within the works of individual composers • Musical style drawn from variety of sources • Musical influences drawn from Asia & Africa • Folk and popular music • Composers drawn to unconventional rhythms • Folk music incorporated into personal styles • American jazz also influenced composers • For American composers, jazz was nationalistic music • For European composers, jazz was exoticism • Medieval, Renaissance, & Baroque music was “re-discovered,” performed, & recorded • Romantic music, especially Wagner, was seen as either a point of departure or a style to be avoided • Forms from earlier periods were imitated, but with 20th Century harmonic & melodic practices- Ex.: Anton Webern and Paul Hindemith • Although modern music might be inspired by past music, did not mean imitation of the past styles, but rather a point of departure
Slide 7: Characteristics of 20th Century Music Tone Color • Tone color more important than ever before; major role in creating variety, continuity and mood. • Unusual playing techniques are called for • Glissando (rapid slide up or down the scale), flutter tongue, col legno, extended notes • Percussion use greatly expanded • New instruments added/created • Unconventional tone colors heard clearly; sound transparent • Music not written for choirs of instruments • Composers write for timbres, “groups of soloists” • Xylophone, celesta, woodblock, … • Other “instruments:” typewriter, auto brake drum, siren • Unusual groupings of instruments for small ensembles • Orchestra scoring also reflects this trend
Slide 8: Characteristics of 20th Century Music • Brought fundamental changes in harmony • Before 1900: consonant and dissonant Harmony • Divided into: Consonance and Dissonance • Consonant-stable, functioned as point of rest or arrival • Dissonant-unstable, tension demanded onward motion, or resolution to stable consonant • Traditional distinction between consonant and dissonant were abandoned • Dissonant was point of departure-how more or less it was created the tension • After 1900: New chord structures • Polychord-one traditional chord against another • Quartal and quintal harmony• Chords fourths and fifths apart • Tone Cluster-chord made up of tones only half or whole steps away
Slide 9: Characteristics of 20th Century Music Harmony Alternatives to the Traditional Tonal System: • Composers want alternatives to major/minor• Not much tonal gravity as it had existed before • Not much tonic to dominant movement • Modes of Medieval & Renaissance were revived • Scales from music outside western Europe utilized • Some composers created their own scales/modes • Polytonality (bitonality-only 2) • Atonality-absence of tonality • No central or key note, sounds just “exist” and flow • Another approach: use 2 or more keys at once • 12 tone system-new pitch organization in which it gives equal importance to each of the 12 chromatic tones • Atonal, but with strict “rules” concerning scale use • Serialism, an ultra strict method, develops from 12 tone sys.
Slide 10: Characteristics of 20th Century Music Rhythm- CD 7:21 • Rhythmic vocabulary expanded • Rhythm is one of the most striking elements of 20th ce. Music • Used for drive power and excitement • Emphasis upon irregularity and unpredictability • Shifting meters- rapidly changing meters • Irregular meters-beat accented at unequal time, syncopation, accent on weak beats, unconventional meters, asymmetrical groupings of beats • Polyrhythm-2 or more independent rhythms at the same time Melody • Melody no longer bound by harmony’s notes • Major and minor keys no longer dominate • Melody may be based upon a variety of scales, or even all 12 tones • Frequent wide leaps • Rhythmically irregular • Unbalanced phrases
Slide 11: Ch. 2: Music and Musicians in Society • Recorded & broadcast music brought concert hall to living room, automobile, & elsewhere • Music became part of everyday life for all classes • Becoming popular in 1920’s, recordings allowed lesser known music to reach broader audience • 1930’s—radio networks formed own orchestras • Radio brought music to the living room • Television (popular 1950’s) brought viewer to concert hall • 1951 premier of 1st modern opera created for television Amahl and the Night Visitors • 1st part of the 20th ce. modern composers were alienated by the audience and chose not to perform their more modern works in public • Turned to old familiar music (Classical, Romantic) • For 1st time in history, older, not new music was desired • 1950s major orchestras and opera companies began to program more 20th ce. works • Recordings helped to make the modern familiar
Slide 12: Ch. 2: Music and Musicians in Society • Developments in dance impacted 20th ce music • • Commissioned works for ballet companies Yet composers could not live on commissioned works alone Women became active as composers, musicians, and music educators • African-American composers & performers became more prominent • Latin and South American composers became prominent • • Some governments controlled their music • USSR demanded non-modern, accessible music • Hitler’s Germany banned Jewish composers’ work • American jazz & popular music swept world • Many artists & intellectuals left Europe for the US • Working, creating, & teaching in American universities, they enriched the culture of the US • American orchestras became some of world’s best • Universities supported modern music & composers—became music’s new patrons
Slide 13: Ch. 3: Impressionism and Symbolism • Musical outgrowth of French art and poetry French Impressionist Painting • Used broad brush strokes and vibrant colors • Viewed up close, the painting appears unfinished • Viewed from a distance it has truth and form • Concerned primarily on light, color, & atmosphere • Depicted impermanence, change, and fluidity • A favorite subject was light reflecting on water • Named after Monet’s Impression: Sunrise French Symbolist Poetry • Symbolists also broke with traditions & conventions • Avoided hard statements—preferred to “suggest” (symbolize) their topics • Emphasized fluidity, musical, and sonorous effects of words • Symbolist poetry became the basis for many Impressionist musical works
Slide 14: French Impressionist composer • Crossed Romantic/20th Cent. (1862-1918) • Studied in Paris and on a scholarship that took him to Rome • Ch. 4: Claude Debussy • Influenced by Wagner and his music • Lived large—liked luxury, but stayed in debt • Spent many summer’s working as a pianist in Russia for von Meck Debussy’s Music Attempted to capture in music what Impressionist painters did in art • Fleeting mood, misty atmosphere and sensuality • Stress on tone color, atmosphere and fluidity- true to impressionistic music • Program music type approach, but more pictorial • Used orchestra as pallet of sounds • Seldom whole orchestra is used-more solos-woodwinds • Music sounds spontaneous/ improvised • Expanded harmonic vocabulary and practice-used harmony for sensuous colors • Used 5-note chords instead of traditional 3 or along with 3 • Made use of pentatonic and whole-tone scales (for Asian atmosphere)
Slide 15: Debussy’s Music      Avoids recurring strong beats and accents-similar to rhythmic fluidity of French language Only 1 opera –Pelleas and Melisande  No arias and very speech like lines Avoided Sonata Form Final expression of romanticism Varied output of music
Slide 16: Listening Prelude a l’Apres-midi d’un faune by Claude Debussy (1894) Listening Outline: p. 416Basic Set, CD 7:1 -Illusion of poem by Mallarme -The program material (a faun) concerns a pagan, half man/half goat creature Note: Use of solo instruments-woodwinds, horns and harp Disguised meter Extended harmonic style Subdued dynamics Sensuous swells Continuous flow
Slide 17: Ch. 6: Neoclassicism • • • Flourished 1920-1950 Reflects artistic neoclassicism movement • Emotional restraint Reaction against romanticism and impressionism • Back to Bach-Based new compositions upon devices and forms of the Classical & Baroque • Used earlier techniques to organize 20th Century harmonies & rhythms • Preferred Polyphonic textures • Fugue, dance suite, etc. • Turned away from program music and towards absolute • Preferred to write for small ensembles• Partially due to limited resources in post WWI Europe • Was more attitude than style • Sounded modern, not classical
Slide 18: Born in Russia (1882-1971) • Studied privately with Rimsky-Korsakov- Russian Five • Early success writing ballet music due to Diaghilev’s (great ballet impresario) interest in him • Ch. 7: Igor Stravinsky • Firebird put him in the music scene • The Rite of Spring caused riot at premier in Paris • Got well paying commissions for his works • Astute businessman-very disciplined with his composing • Moved due to the wars Stravinsky’s Music • • WWI went to Switzerland, to France afterward, then to US at onset of WWII Dramatic changes of style throughout his compositions and life • Russian folklore-ragtime jazz- back to Mozartian style • Vocal & instrumental—many styles & forms • Mostly wrote music with tonal center until later in his life when he was exposed to Schoenberg’s music and adapted the 12 tone system
Slide 19: Stravinsky’s Music • Characteristics: • • • Incisive rhythms-strong an regular beat Brilliant orchestral color Dry and clear tone colors • • • • • Utilized shifting and irregular meters Sometimes more than one meter at once Frequently used ostinato rhythms Shifts abruptly from one section to the other vs. bridging and connecting sections Rich novel harmonies
Slide 20: Listening Le Sacre du printemps (1913)- The Rite of Spring by Igor Stravinsky Ballet piece: Tells the story of tells story of prehistoric tribe in which Pagan elders watching a young girl dance herself to death paying rite to the god of Spring A primitivism- evocation of primitive power through insistent rhythms and percussive sounds. -He never composed another work in this style -Dances suggest primitive subject matters -Part I: Introduction Listening Outline: p. 429 Basic Set, CD 7:15 -Part I: Omens of Spring—Dances of the Youths & Maidens Listening Outline: p. 430 Basic Set, CD 7:17 -Part I: Ritual of Abduction Listening Outline: p. 431 -Part II: Sacrificial Dance Listening Outline: p. 431 Basic Set, CD 7:21 Basic Set, CD 7:23 Note: -Use of rhythmic accent intended to portray primitive man (remember, this is a work for dance)
Slide 21: Centered in Germany and Austria from 1905-1925 • Attempts to explore inner feelings but not depicting its outward appearances • Used deliberate distortions • Ch. 8: Expressionism • To assault and shock the audience • To communicate tension and anguish • Direct outgrowth of the work and studies of Freud of hysteria and unconscious • Rejected “conventional prettiness” • Favored “ugly” topics such as madness and death • Art also seen as a form of social protest • Anguish of the poor • Bloodshed of war • Man’s inhumanity to man • Artist: Munch, Emil Nolde, Kichner
Slide 22: Born in Vienna (1874-1951) • First to completely abandon the traditional tonal system • Ch. 9: Arnold Schoenberg • Later referred as the “father” of the 12-tone system • When Nazis came to power he (a Jew) was forced to leave— came to America • Taught at UCLA until his death Schoenberg’s Music • Atonality • Starting 1908, wrote music w/ no key center, though his early works show characteristics of Romanticism • Music is emotionally intense and often has literary program • Unexpected resolution of dissonances, big leaps and no pull to tonal center • The 12-Tone System • System which gives equal importance all 12 pitches in octave • Pitches arranged in a sequence or row (tone row)- series • Each piece has its unique row in which no pitch will occur more than once in that row to equalize emphasis of pitches • Row can be altered by playing it backward (retrograde), upside down (inversion), or backward and upside down (retrograde inversion
Slide 23: Schoenberg’s Music   Pieces achieve unity through different techniques vs. tonality: Created tone-color concept : a succession of varying tone color used as musical idea  Sprechtimme: speech-voice- vocal part written in music notation but small x’s on the note stem indicate that the pitches are only approximate Students later adapted his music: Webern and Berg  12 tone system organized his atonality concept and allowed him to write more extensive pieces 
Slide 24: Listening Pierrot Lunaire- cycle of 21 songs for female voice and ensemble: piano, cello, violin-viola, flute-piccolo, bass clarinet –clarinet-never piano alone-Breaks from conventional art song -Many poems deal with pierrot clown-which represents isolated artist (commedia dell’arte character)  Mondestrunken (Moondrunk) from Pierrot Lunaire, Op. 21 (Moonstruck Pierrot) by Schoenberg (1912) Voice, flute and piano Vocal Music Guide: p. 442 Basic Set, CD 7:27 Program piece: Evokes a surrealistic night vision The poet (Pierrot) becomes intoxicated as moonlight floods the still horizon with desires that are “horrible and sweet.” Note: -Freely atonal, intentionally no key center -Use of Sprechstimme, song/speech style that was developed by Schoenberg
Slide 25: Listening A Survivor from Warsaw (1947) by Arnold Schoenberg Cantata for narrator, male chorus, and orchestra Vocal Music Guide: p. 444 Basic Set, CD 7:28 Brief Set, CD 4:25 Tells story of Nazi treatment and murder of Jews in occupied Poland Note: Sprechstimme 12-tone technique English and German (Nazi demands) text with Hebrew prayer Expressionist music and text—shocking
Slide 26: Ch. 10: Alban Berg 1885-1935 • Born in Vienna • Student of Schoenberg • Wrote atonal music • Small output of music • Most famous work is Wozzeck • Due to ill health, did not tour or conduct • Story of a soldier who is driven to madness by society, murders his wife, and drowns trying to wash the blood from his hands (Expressionist topic & music)  Combines romantic sounds with atonal and 12 tone music    Lyrical warmth Vivid tone colors Theatrical qualities
Slide 27: Berg’s Music  Wrote operas   Lulu and Wozzeck Wozzeck is a story of a man driven to madness and murder by the betrayal of his girlfriend; very dark and reflects the idea of the 20th ce. Hostile society • • • • • • • • Darkness is conveyed through harsh dissonances Range of emotions and styles Not 12 tone and occasionally uses major and minor key Vocal line includes shrieking, speaking, Sprechstimme, distorted folk songs, melodies with wide leaps. Huge orchestra with descriptive effects (frogs croaking, moon rising and water engulfing Wozzeck when he drowns) Rapid shifts between ffff and pppp Consists of 3 Acts with 5 scenes- between scenes short orchestral interludes which wrap up and comment on action preceding scene Music for each scene is contained to a specific form ***very novel to this piece of work
Slide 28: Listening Act III: Scene 4 Wozzeck (1917-1922) Opera by Alban Berg Vocal Music Guide: p. 447 Basic Set, CD 7:31 Wozzeck, the soldier, returns to the scene of the crime to dispose of his knife -Variations on a chord Act III: Scene 5 Listening Guide: p. 447 Basic Set, CD 7:35 Marie’s son (Wozzeck’s stepson) & other children are playing. Another group of children rushes in saying they have found Marie’s body. As all the children go to see, the opera ends abruptly. -Variations on continuous running notes Note: Sprechstimme Atonal Expressionist subject matter
Slide 29: Born in Vienna, 1883-1945 • Schoenberg’s other famous student • His music was ridiculed during his lifetime • Shy family man, devoted Christian Ch. 11: Anton Webern • Webern’s Music • Shot by US soldier by mistake near end of WWII • Poetic lyricism • Achieved musical recognition in history although his output is very small • Expanded Schoenberg’s idea of tone color being part of melody • His melodies are frequently made up of several two to three note fragments that add up to a complete whole • Tone color replaces “tunes” in his music • Texture is very transparent-few solo instruments at once • Texture, tone color and dynamics play a big role in his music • Polyphonic imitation among the lines of textures plays big role in his 12 tone pieces • His music is almost always very short
Slide 30: Listening Five Pieces for Orchestra (1911-1913) Third Piece by Anton Webern Listening Outline: p. 452 Basic Set, CD 7:36 Brief Set, CD 4:28 Note: -Atonal -12 tone -Unconventional instruments -Lack of traditional melody -Tone color washes over the listener -Poetic silences -Melodic fragments y ever changing instruments -Dynamics never get above pp
Slide 31: • Taught piano in Hungary and wrote books for pedagogy • Influenced by Hungarian nationalistic movement, loved song of the peasants and spent much free time in the villages recording and collecting folksongs • Used folksongs as basis of his music Ch. 12: Bela Bartok • Hungarian, 1881-1945 • Recognized throughout Europe as leading composer but neglected by Hungary • Like many other composers, fled Nazis and came to live in the US Bartok’s Music • Best known for instrumental works • Evolved an individual style that blended strong folk influences, classical form and 20th ce. Sounds • Reinterpreted traditional forms; begins and ends movement the same way • Especially piano pieces & string quartets • Music almost contains atmospheric and impressionistic qualities • Worked within tonal center • Harsh dissonances, polychords, tone clusters
Slide 32: Listening Concerto for Orchestra (1943) Second movement: Game of Pairs Allegretto scherzando by Bartok Listening Outline: p. 459 Basic Set, CD 7:46 Note: -Title of work derived from treatment of instruments in soloistic (concertant) manner (Showpiece for orchestra virtuosos) -Memorable themes -Ternary form -Contrast in mood - ABA form -Pairing of instruments in “A” section gives name to this movement -Prominent drum part
Slide 33: American, 1874-1954 • Son of a professional bandmaster (director) • Worked as insurance agent, composed music on the side because his music was so original he knew he’d have a hard time earning a living as a composer • Ch. 14: Charles Ives • At first he published own music, initially ridiculed • During his life very few of his works were performed Ives’s Music • • • • Won Pulitzer Prize in 1947 for 3rd Symphony written 30 years earlier • Later recognized as the first great American composer Wrote quite original music Music based upon American folk and popular songs-ragtime, revival hymns, patriotic songs, college songs, etc. Irregular rhythms and asymmetrical melodies • Polyrhythm, polytonality, & tone clusters • Claimed was like 2 bands marching past each other on a street-fascinated by dissonances • • • 5 symphonies, over 200 songs and piano, chorus and chamber music Works can be descriptive and philosophical Often, his music is very difficult to perform
Slide 34: Listening Putnam’s Camp, Redding, Connecticut from Three Places in New England by Charles Ives (1914) –not performed until 1930 Listening Outline: p. 467 Basic Set, CD 8:7 Set evokes American history, life and landscape Piece is based upon a child’s impression of a Fourth of July picnic, two bands playing Note: Polyrhythm Polytonality Back and forth between conventional harmonies harsh dissonances A B A- Form following descriptive program and A- Child’s impression of picnic: Gaiety and confusion of picnic-”Yankee Doodle” B- Child’s dream A’- 4th of July Picnic
Slide 35: American, 1898-1937 • Wrote popular music, musical theatre, and concert music • Frequently blended the three into a single style • Had a love for both popular and classical music • Left school at 15 to become a “piano pounder” demonstrating new songs with “popular” flavor in salesrooms of music publishers • After 3 years he went on to make a career as a songwriter • Often co-wrote with his brother, Ira, as lyricist Ch. 15: George Gershwin • • Wrote Swanee, Funny Face, Lady, Be Good, Someone to watch over me, I Got Rhythm • At 20 wrote Broadway musical La, La, Lucille • Also, Rhapsody in Blue (launched his career as a composer) Concerto in F, An American in Paris • Opera Porgy and Bess-most extensive work • Met Berg, Ravel, and Stravinsky in Europe • Financially successful—songs were popular-royalties • Died of brain tumor at age 38
Slide 36: Listening Rhapsody in Blue (1924) by George Gershwin For piano and orchestra Listening Outline: p. 475 - “Musical kaleidoscope of America” of our melting pot of musical influences Note: Jazz influence, especially notable in the clarinet introduction Refers to blues style Improvisational
Slide 37: Ch. 16: William Grant Still • • • • • • • • American composer (1895-1978) Also had popular influence and worked as popular “musician” 1st African-American composer to have work performed by a major American orchestra Born Woodville, MS-grew up Little Rock, AR Worked for W. C. Handy in Memphis, TN Awarded Guggenheim Fellowship and moved to L.A. were he became a prominent film score writer 1st African-American to conduct a major symphony orchestra (1936) Also 1st to have an opera performed by a major opera company (1949) • Troubled Island about Haitian slave rebellion
Slide 38: Listening Afro-American Symphony (1931) Third movement by Still Listening Outline: p. 476 Basic Set, CD 7:53 Brief Set, CD 4:36 Note: Blues and spiritual influence Scherzo-like, as in a 3rd movement from the Classical Period Ternary form Tenor Banjo
Slide 39: Ch. 17: Aaron Copland • • • • • American, 1900-1990 Wrote music in modern style more accessible to audience than many other composers At 21 he went to Paris to study with Nadia Boulangersympathetic to modern trends and influenced and taught many American composers Drew from American folklore for topics and early on jazz Wrote simple, yet highly professional music accessible for large audiences- not content with the relationship of audiences and modern composers-music was too sophisticated and elitist • Ballets: Billy the Kid, Rodeo, Appalachian Spring • Lincoln Portrait, Fanfare for the Common Man • • • • Directed composers’ groups Organized concerts Lectured, taught, & conducted Wrote books and articles • Other contributions to American music:
Slide 40: Listening Appalachian Spring (1943-44) Section 7: Theme and Variations on Simple Gifts by Aaron Copland Listening Outline: p. 481 Basic Set, CD 8:12 Brief Set, CD 4:41 Ballet involves a pioneer celebration in Spring in Pennsylvania Note: Use of folk melody-barn dances fiddle and revival hymns (Shaker melody: Simple Gifts) Theme & variation form Rhythmic excitement: syncopations, rapid changes in meter Clear tonality
Slide 41: Ch. 18: Musical Styles since 1945 • Many societal changes since WWII • • • Instant communication has altered the world Constant demand for novelty and stimuli New direction and ranges of musical style Characteristics of Music Since 1945 • • • • • • • • • • Increased use of the 12-tone system Serialism—12-tone techniques extended Chance music that includes the random Minimalist music w/ tonality, pulse, repetition Deliberate quotations of earlier music in work Return to tonality by some composers Electronic music “Liberation of sound”-greater exploitation of noise like sound Mixed media New concepts of rhythm & form
Slide 42: Increased Use of the 12-Tone System • After WWII, Europeans explored 12-tone • In search for something new • Nazi’s had banned music by Schoenberg & Jews • European composers heard 12-tone as “new” • 12-tone viewed or rediscovered as technique, not style • Provided more diversity • Pointillist approach w/ atomized melodies • Webern’s music & style became popular Extensions of the 12-Tone System: Serialism • The system was used to organize dimensions of music other than just pitch such as: rhythm, dynamics, and tone color • After 1950 rhythmic values, dynamic levels and tone colors served as unifying idea • Tone row ordered relationships of pitches • Use of series to organize several dimensions of musical composition was developed: Serialism ordered other musical elements • Result was a totally controlled, organized music
Slide 43: Chance Music • Opposite of serialism • Composers choose pitches, tone colors, & rhythms by random methods • Makes complete break with traditional values of music • More significant as idea vs. collection of musical sounds • John Cage: 4’33”, Imaginary Landscape • Karlheinz Stockhausen: Piano Piece No. 11 • Reaction to complexity of serialism and randomness of chance music • Characteristics • Steady pulse, clear tonality, repetition of short melodic fragments • Dynamics, texture, & harmony constant over time • Emphasis on simple forms, clarity, understatement Minimalist Music
Slide 44: Musical Quotation • Deliberately makes extensive use of quotations from earlier music, usually fairly familiar • Represents conscious break with serialism • Attempts to improve communication w/ audience • Quoted material conveys symbolic meaning • Frequently juxtaposes quoted material with others, creating an Ives-esque sound • Could include central tones or consonant sonorities, tonal work • Rediscovering tonality in midst of dissonance Return to Tonality Electronic Music • Uses technological advances for new music • Recording tape, synthesizers, computers • Allows composers to skip the middle step of performers and be more in control of conveying their ideas to an audience • Provides unlimited palette of sounds/tone colors
Slide 45: “Liberation of Sound” • Use of wider variety of sounds than ever • Novel & unusual performance techniques are required (screaming, groan, whistle,tapping instrument, …) • Search for novel sounds leads to creation of microtones: intervals smaller than ½ steps and more use of clusters, any new sound • Some sounds were previously considered noises Mixed media • Visual art often combined w/ music for effect • Often intended to relax concert atmosphere and more communication with audience Rhythm and Form • Some new compositions ignore rhythmic notation & specify sound in seconds/minutes • Traditional forms giving way to new ideas • Some music “unfolds” w/o obvious form devices
Slide 46: Ch. 19: Music since 1945: John Cage- Chance Sonatas and Interludes for Prepared Piano Sonata II (1946-1948) by John Cage (1912-1992) -Creator of chance music, invented the prepared piano: grand piano whose sound is altered by w/ objects such as bolts, screws, rubber band, etc. inserted between the strings. Creates variety in sound, making it more percussive. -Work of 24 short pieces. -Depicts stylized emotional states described in Indian aesthetics theory, reflects composers study of eastern philosophy Note: Binary form—A A B B Percussive sounds on some notes Polyphonic
Slide 47: Edgar Varese- Electronic Music Poeme electronique (H; 1958) by Edgard Varese (1883-1965) Listening Outline: p. 499 Basic Set, CD 8:26 Brief Set, CD 4:49 -Early pioneer of electronic music -Piece premiered in Brussels at World’s Fair- 425 loud speakers projected this sound long with photograph, paintings and writings that were projected on the wall Created using recording tape, wide variety of raw sounds that are often electronically processed Note: Electronic and electronically processed sounds Some tone-like sounds, some noise-like Early electronic composition
Slide 48: Astor Piazzolla (1921-1992) Argentine composer who fused tango (sensuous dance in quadruple meter for couples in close embrace) with classical style creating a concert tango. -Studied with Nadia Boulanger Fugata (1969 Listening Outline: p. 502 Basic Set, CD 8:30 Brief Set, CD 5:7 -Starts off fugal-like -Ostinato rhythms -Irregular rhythmic patterns - Sextet for cello, bandoneon (special accordion used in tango), violin, electric guitar and double bass
Slide 49: Philip Glass (b. 1937)- Minimalist -Student of Nadia Boulanger American minimalist composer Einstein on the Beach (1976) Knee Play 1 by Philip Glass (b. 1937) Listening Outline: p. 508 • • • • Basic Set, CD 8:33 Opera has no real plot or character development Lyrics are mostly numbers & solfege syllables Title derived from Nevil Shute’s novel On the Beach about nuclear destruction Includes 5 short pieces called Knee Plays. Note: Minimalist approach: -Steady, driving pulse -Clear tonality -Slow rate of change -Constant repetition of melody & rhythm patterns
Slide 50: Ellen Taaffe Zwilich (b. 1939) -Was a prominent violinist -Work was commissioned to celebrate Handel’s 300th birthday Concerto Grosso 1985 (To Handel’s Sonata in D Major for Violin and Continuo, First Movement) Listening Outline: p. 509 Basic Set, CD 8:35 Brief Set, CD 4:51 Quotation music, each of its 5 movements uses material from 1st movement of the Handel piece combined with new music. Note: Use of quoted material -Written as concerti grossi-for orchestra and give prominent solos to some intruments -Continuo part, as in Baroque Period Terraced dynamics to imply Baroque
Slide 51: John Adams (b. 1947) -American composer whose music has clear American popular music influences Short Ride in a Fast Machine, Listening Outline: p. 511 Basic Set, CD 8:37 Brief Set, CD 4:53 -Most frequently performed work by an American living composer -Rapid tempo, rhythmic drive -Powerful and colorful sonorities -Ostinato rhythms -Colorful percussion section