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The World of Music7th Connect edition

Part 4Listening to Western

Classical Music

Chapter 13: Music of the Twentieth Century

Chapter 13: Music of the Twentieth Century

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Chapter 13: Music of the Twentieth Century

Modern Classical Music Diverse

Conventional Instruments Traditional Techniques Unconventional Techniques

Unconventional Instruments Often Complex

Blurred Tonality Longer Melodies Difficult, Puzzling Forms

Timbre and Rhythm over Melody and Harmony

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Chapter 13: Music of the Twentieth Century

Impressionism Style from French Painting Philosophy

Monet Renoir

Reaction against Intellectual German Music Favored Delicate Instruments

Flute Harp Strings

Claude Debussy

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Chapter 13: Music of the Twentieth Century

Claude Debussy (1862–1918) French Rejected Traditional Practices Influences

Painters Poets Gamelan Music (of Indonesia)

Excelled at Works for Piano and Orchestra

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Chapter 13: Music of the Twentieth Century

Experimental Music Avant-Garde Composers in Every

Generation Experimental Works Varying Degrees of Success

Two Types of Composer One Who Uses Proven Techniques One Who Wants to Develop Original Techniques

Igor Stravinsky

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Chapter 13: Music of the Twentieth Century

Igor Stravinsky (1882–1971) Russian Became American Citizen Style Contributions

Rhythmic complexity Innovative Orchestration Original Uses of Tonality Reinvention of Other

Material Baroque and Classical

Forms Jazz Russian Folk Melodies

Representative Works Ballets

The Firebird Petrushka The Rite of Spring

Opera, The Rake’s Progress

Chamber Work, The Soldier’s Tale

Opera-Oratorio Oedipus Rex Symphony of Psalms

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Chapter 13: Music of the Twentieth Century

Atonal Music and Serialism Atonality

Literally Means, “No Tonality” Alternative to Major and Minor Keys

Serialism Uses the 12 Tones in a Fixed Row

No Traditional Scales No Traditional Chords

Row May be Altered Reversed Upside Down Transposed Combinations of the Above (i.e. Reversed and Transposed)

Arnold Schoenberg

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Chapter 13: Music of the Twentieth Century

Arnold Schoenberg (1874–1951) Austrian Became an American

Citizen Early Works Post-romantic Style

Disjunct Melodies Small Ensembles Irregular Phrases Complex and Fragmentary

Sound Controversial

Representative Works Verklärte Nacht Five Pieces for Orchestra Pierrot Lunaire Variations for Orchestra Opera, Moses and Aaron

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Chapter 13: Music of the Twentieth Century

Electronic Music Began in 1950s

Invention of Magnetic Tape Recording Musique Concrète

Altered Speed of Tape Reversed Tape Splicing of Tape

Synthesizers Computer-Generated Music

MIDI Edgard Varèse

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Chapter 13: Music of the Twentieth Century

Edgard Varèse (1883–1965) French (Came to America) Promoted Experimental

Music Conducted Wrote Articles Participated in Classes

and Seminars Lifelong Interest in

Science and Technology

Representative Pieces Hyperprism Octandre Intégrales Ionization Déserts Poème Électronique Ecuatorial

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Chapter 13: Music of the Twentieth Century

Chance Music Also Called Indeterminate music Performer is Allowed to Create

Randomness Chance Elements (Dice, etc.) Improvisation

Large-Scale Structure Provided by Composer Pieces Never Performed the Same Way Twice John Cage

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Chapter 13: Music of the Twentieth Century

John Cage (1912–1992) Known for Original Ideas

Prepared Piano Items (Screws, Paper, Erasers, etc) Placed on Strings

Inside a Piano Can Sound like a full Percussion Ensemble

Chance Music Less Control for the Composer Accept What you Get

Multiple Radios Simultaneously Playing on Stage 4’33” of “Silence” from Performer (Audience, Theater, and

Surroundings Create the Music)

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Chapter 13: Music of the Twentieth Century

Bela Bartók (1881–1945) Hungarian Ethnomusicologist

Preserved Folk Songs of Hungary

Field Recordings Used These Melodies

in his Compositions Extended Interest to

Other Parts of Europe/Africa

Representative Works Mikrokosmos Music for Strings,

Percussion, and Celesta Concerto for Orchestra 6 String Quartets 3 Piano Concertos

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Chapter 13: Music of the Twentieth Century

Nationalism Emerged in late nineteenth century Charles Ives Aaron Copland

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Chapter 13: Music of the Twentieth Century

Additional American Composers Amy Cheney Beach Ruth Crawford Seeger Ulysses Kay Henry Cowell George Gershwin William Grant Still

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Chapter 13: Music of the Twentieth Century

Neoclassical Music Return to Structures/Aesthetics of the Past

Forms of Previous Periods Using Modern Language

Possible Traits Control Order Emotional Restraint Minimal Instrumentation Transparent Texture

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Chapter 13: Music of the Twentieth Century

Minimalism Seeks Great Effect from

Minimal Material Began in 1960s

Philip Glass Terry Riley

Reaction Against Serialism

Traits Extensive Repetition Slow, Subtle Changes

Rhythm Chords Other Elements

Tonal Style Other Similar Styles

Jazz Rock Indian Music African Music

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Chapter 13: Music of the Twentieth Century

Traditional Sounds Program music Symphonies Concertos Colorful harmonies, but within the accepted

structure of the major-minor tonal system

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Chapter 13: Music of the Twentieth Century

Chapter Summary Why do you think modern audiences prefer music

from previous periods? How “modern” is the music heard in Hollywood

Blockbuster films? How has the infusion of technology into the art of

music affected its development? Has the turbulent twentieth century created art

forms that have a different function from those of previous periods of history?

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Chapter 13: Music of the Twentieth Century

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