listening debussy - prélude à l’après-midi d’un faune stravinsky - le sacre du printemps...
TRANSCRIPT
ListeningListening
Debussy - Prélude à L’Après-midi d’un Faune
Stravinsky - Le Sacre du Printemps
Schoenberg - Pierrot Lunaire, no. 1 Mondestrunken
Schoenberg - A Survivor from Warsaw
Webern - Third Piece from Five Pieces for Orchestra
Bartók - Concerto for Orchestra, 2nd mvt.
Still - Afro-American Symphony
Copland - Appalachian Spring, sect. 7
Varèse - Poème Électronique
Adams - Short Ride in a Fast Machine
Friday, 12/6/07Exam 6
Twentieth-Century DevelopmentsTwentieth-Century Developments
Violence and progress are hallmarksViolence and progress are hallmarks
- Two world wars brought terrible new weapons
- Between wars boom/bust economic cycle
– First half of century: hardship and destruction
– Second half: colonial empires dismantled
- Multiple smaller-scale wars erupt worldwide
- Extended Cold War between US and USSR
- Many smaller wars fueled by Cold-War tactics
PART VI—THE TWENTIETH CENTURY AND BEYOND
Twentieth-Century DevelopmentsTwentieth-Century Developments
Unprecedented rapid economic growth
Widespread gain in principle of equal rights
Rapid advancement of science and technology
– Sound recording
– Movies
– Radio
– Television
– Satellite
– Computers
– The Internet
PART VI—THE TWENTIETH CENTURY AND BEYOND
Twentieth-Century DevelopmentsTwentieth-Century Developments
PART VI—THE TWENTIETH CENTURY AND BEYOND
Rapid, radical changes in the arts also occurRapid, 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 and others no longer try to represent the visual world
– Individual artists use both traditional and radical styles
- Expressionists: deliberate distortion and ugliness as protest
Twentieth-Century DevelopmentsTwentieth-Century DevelopmentsSummary:
– US shapes world culture; new artistic world center
– Non-Western culture and thought affect all arts
– New technologies stimulate artists; new art forms
– Artists explore human sexuality; extremely frank
– More opportunities for female, African-American, and minority artists/composers than ever before
– Artists express reaction to wars/massacres in art
– Since 1960’s, pop-art begins to replace elitist art
PART VI—THE TWENTIETH CENTURY AND BEYOND
Chapter 1: Musical Styles 1900-1945
First thirteen years brought radical changesFirst thirteen years brought radical changes
Composers broke with tradition and rules
– Rules came to be unique to each piece
Seen as time of revolt and revolution in music
– Some reviewers said that the new music had no relationship to music at all
- 1913 performance of The Rite of Spring caused a riot
– Sounds that were foreign to turn-of-the-century ears are now commonplace
Chapter 1
Key, pitch center, and harmonic progression
practices of the past were mostly abandoned
– Open-minded listening, without expectations based
upon previous musical practice, provides an opportunity
for musical adventure
Chapter 1
1900-1945: An Age of Musical Diversity
Vast range of musical styles during this timeVast range of musical styles during this time
– Intensifying of the diversity seen in the romantic period
Musical influences drawn from Asia and Africa
Folk music incorporated into personal styles
– American jazz also influenced composers
- For American composers, jazz was nationalistic music
- For European composers, jazz was exoticism
– Composers drawn to unconventional rhythms
Chapter 1
Major Stylistic trends:
Styles/movements:
- Neo-Classicism
- Impressionism
- Expressionism
- Primitivism
Style-forming aesthetic forces: Old vs. NewGlobalism vs. NationalismAbstraction vs. ReferentialityHigh Art vs. Low (Pop/vernacular elements)
Characteristics of Twentieth-Century Music
Tone Color
Unusual playing techniques were called for
Percussion use was greatly expanded
– New instruments were added/created
- Xylophone, celesta, woodblock, …
- Other “instruments:” typewriter, automobile brake drum, siren
– Glissando, flutter tongue, col legno, extended notes– Multiphonics
Chapter 1
Harmony
Consonance and Dissonance
Harmony and treatment of chords changed
- Opposite sides of the coin
– Before 1900: consonant and dissonant
– After 1900: degrees of dissonance
Chapter 1
New Chord Structures
PolychordQuartal and quintal harmony
Cluster
Chapter 1
Alternatives to the Traditional Tonal System
Composers wanted alternatives to major/minor
– Modes of medieval and Renaissance were revived
– Some composers created their own scales/modes
– Scales from music outside western Europe utilized
Chapter 1
- Serialism, an ultra strict method, develops from twelve-tone system
Another approach: use two or more keys at once
Atonality
– Polytonality (bitonality)
– No central or key note, sounds just “exist” and flow
Twelve-tone system– Atonal, but with strict “rules” concerning scale use
Chapter 1
Rhythm
Rhythmic vocabulary expanded– Emphasis upon irregularity and unpredictability
- Shifting meters
Listening Guide: p. 300
Brief Set CD 4:22
Chapter 1
Rhythm
Rhythmic vocabulary expanded
- Irregular meters
– Emphasis upon irregularity and unpredictability- Shifting meters
Bartok: Six Dances in Bulgarian Rhythm
Chapter 1
Rhythm
Rhythmic vocabulary expanded
- Irregular meters
– Polyrhythm
– Emphasis upon irregularity and unpredictability
- Shifting meters
Chapter 1
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 twelve tones
– Frequent wide leaps
– Rhythmically irregular
– Unbalanced phrases
Chapter 1
Chapter 2: Music and Musicians in Society
Recorded and broadcast music brought the concert Recorded and broadcast music brought the concert hall to the living room, automobile, and elsewherehall to the living room, automobile, and elsewhere
– Music became part of everyday life for all classes
- Radio brought music to the living room
- Television (popular by 1950’s) brought viewer to the concert hall
– Becoming popular in 1920’s, recordings allowed lesser-
known music to reach broader audience
– In the 1930s, radio networks formed their own orchestras
Chapter 2
Modern composers alienated audience
– Turned to old familiar music (classical, romantic)
- For first time in history, older, not new, music was desired
– Recordings helped to make the modern familiar
Women became active as composers, musicians, Women became active as composers, musicians, and music educatorsand music educators
African-American composers and performers became more prominent
Chapter 2
Some governments controlled their music
– USSR demanded non-modern, accessible music
- Many artists and intellectuals left Europe for the US
– American orchestras became some of world’s best
– Hitler’s Germany banned Jewish composers’ work
- Working, creating, and teaching in American universities, they
enriched the culture of the US
American jazz and popular music swept the world
Universities supported modern music and composers—became music’s new patrons
Chapter 2
Chapter 3: Impressionism and Symbolism
Musical outgrowth of French art and poetryMusical outgrowth of French art and poetry
– Impressionism in music covered in next chapter
Chapter 3
– Viewed up close, the painting appears unfinished
French Impressionist Painting
Used broad brush strokes and vibrant colors
– Viewed from a distance it has truth (p. 304)
Focused on light, color, and atmosphere
Depicted impermanence, change, and fluidity
– A favorite subject was light reflecting on water
Style named after Monet’s Impression: Sunrise
Chapter 3
French Symbolist Poetry
Symbolists also broke with traditions and conventions
Avoided hard statements—preferred to “suggest” (symbolize) their topics
Symbolist poetry became the basis for many Impressionist musical works
Chapter 3
Chapter 4: Claude Debussy
French Impressionist composerFrench Impressionist composer
Crossed the romantic and twentieth-century eras (1862-1918)
Studied in Paris and Rome
Influenced by Russian and Asian music
Lived large; liked luxury, but stayed in debt
Chapter 4
Debussy’s Music
– Used five-note chords instead of traditional three
Attempted to capture in music what impressionist
painters did in visual art
Titles imply a program-music approach
Used orchestra as pallet of sounds, not tutti
Expanded harmonic vocabulary and practice
– Made use of pentatonic and whole-tone scales
Obscured harmony, tempo, meter, and rhythmChapter 4
Listening
Prelude to the Afternoon of a Faun Prelude to the Afternoon of a Faun (1894)(1894)Claude DebussyClaude Debussy
Listening Outline: p. 309Listening Outline: p. 309Brief Set, CD 4:9Brief Set, CD 4:9
The program material (a faun) concerns a pagan, The program material (a faun) concerns a pagan, half-man/half-goat creaturehalf-man/half-goat creature
Listen for:Listen for: Use of solo instrumentsUse of solo instrumentsDisguised meterDisguised meterExtended harmonic styleExtended harmonic style
Chapter 4
Chapter 5: Neoclassicism
Flourished 1920-1950Flourished 1920-1950
Based new compositions upon devices and forms of
the classical and baroque
– Partially due to limited resources in post-WWII Europe
Preferred to write for small ensembles
Sounded modern, not classical
Eschewed program music for absolute
– Used earlier techniques to organize twentieth-century harmonies and rhythms
Chapter 5
Chapter 6: Igor Stravinsky
Born in Russia (1882-1971)Born in Russia (1882-1971)
Studied with Rimsky-Korsakov
Chapter 6: Igor Stravinsky
Early success writing ballet music
– The Rite of Spring caused a riot at its premier in Paris
Moved due to the wars
– WWI went to Switzerland, to France afterward,
then to US at onset of WWII
Stravinsky’s Music
Utilized shifting and irregular meters
Ostinato
Rhythm as an independent structure
Non-developmental forms/harmony
Influential in the use of polytonal harmony
Cinematic cuts
Unique instrumentation for pieces
Listening
The Rite of SpringThe Rite of Spring, (1913) - ex. of Primitivism, (1913) - ex. of PrimitivismIgor StravinskyIgor StravinskyPart I: IntroductionListening Outline: p. 316 Brief Set, CD 4:16
Part I: Omens of Spring—Dances of the Youths & MaidensListening Outline: p. 317 Brief Set, CD 4:18
Part I: Ritual of AbductionListening Outline: p. 317 Brief Set, CD 4:22
Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring
Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance)
Chapter 6
Listening
The Rite of SpringThe Rite of Spring, (1913), (1913)Igor StravinskyIgor Stravinsky
Part II: Sacrificial DanceListening Guide: p. 318 Basic Set, CD 7:23
Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring
Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance)
Chapter 6
Chapter 7: Expressionism
Attempts to explore inner feelings rather than depict outward Attempts to explore inner feelings rather than depict outward
appearancesappearances
Used deliberate distortions
– To assault and shock the audience
– To communicate tension and anguish
Chapter 7
Direct outgrowth of the work of Freud
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
Chapter 7
Chapter 8: Arnold Schoenberg
Born in Vienna (1874-1951)Born in Vienna (1874-1951)
First to completely abandon the traditional tonal
system
– Father of the twelve-tone system
Schoenberg was Jewish; when the Nazis came to
power, he was forced to leave; came to America
– Taught at UCLA until his death
Chapter 8
Schoenberg’s Music
– Gives equal importance to all twelve pitches in octave
– Starting 1908, wrote music with no key center
Atonality
The Twelve-Tone System
– Pitches arranged in a sequence or row (tone row)
- No pitch occurs more than once in the twelve-note row
in order to equalize emphasis of pitches
Chapter 8
Listening
Mondestrunken (Moondrunk)Mondestrunken (Moondrunk)from Pierrot lunaire, from Pierrot lunaire, Op. 21 (Op. 21 (Moonstruck Pierrot; 1912)Moonstruck Pierrot; 1912)Arnold SchoenbergArnold Schoenberg
Vocal Music Guide: p. 324Vocal Music Guide: p. 324Brief Set, CD 4:24Brief Set, CD 4:24
Program piece: The poet (Pierrot) becomes intoxicated, as moonlight floods Program piece: The poet (Pierrot) becomes intoxicated, as moonlight floods the still horizon, with desires that are “horrible and sweet.”the still horizon, with desires that are “horrible and sweet.”
Note: This song part of a twenty-one-song cycle Departure from voice/piano romantic art song: scored for voice,
piano, flute, violin, and cello
Freely atonal, intentionally no key centerUse of Sprechstimme, song/speech style developed by
SchoenbergExpressionist music and text
Chapter 8
Listening
A Survivor from WarsawA Survivor from Warsaw, 1947, 1947Arnold SchoenbergArnold SchoenbergCantata for narrator, male chorus, and orchestraCantata for narrator, male chorus, and orchestra
Vocal Music Guide: p. 326Vocal Music Guide: p. 326Brief Set, CD 4:25Brief Set, CD 4:25
Tells story of Nazi treatment and murder of Jews in occupied Tells story of Nazi treatment and murder of Jews in occupied PolandPoland
Note: Note: SprechstimmeSprechstimmeTwelve-tone techniqueTwelve-tone techniqueEnglish and German text with Hebrew prayerEnglish and German text with Hebrew prayerExpressionist music and text; shockingExpressionist music and text; shocking
Chapter 8
Chapter 9: Alban Berg
Born in Vienna, 1885-1935Born in Vienna, 1885-1935
Student of Schoenberg
Wrote atonal music
Due to ill health, did not tour or conduct– Possibly also reason for his small output
Most famous work is Wozzeck
– 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 and music)
Chapter 9
Listening
WozzeckWozzeck, 1917-1922, 1917-1922Opera by Alban BergOpera by Alban Berg
Act III: Scene 4Listening Guide: p. 329
Basic Set, CD 7:32
Wozzeck, the soldier, returns to the scene of the crime to dispose of his knife
Note: Sprechstimme
Atonal
Expressionist subject matter
Chapter 9
ListeningListening
WozzeckWozzeck, 1917-1922, 1917-1922Opera by Alban BergOpera by Alban Berg
Act III: Scene 5
Listening Guide: p. 329
Basic Set, CD 7:40
Marie’s son (Wozzeck’s stepson) and 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.
Note: Sprechstimme
Atonal
Expressionist subject matterChapter 9
Chapter 10: Anton Webern
Born in Vienna, 1883-1945Born in Vienna, 1883-1945
Schoenberg’s other famous student
His music was ridiculed during his lifetime
Shy family man, devoted Christian
– Shot by US soldier by mistake near end of WWII
Chapter 10
Webern’s Music
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
His music is almost always very short
– Tone color replaces “tunes” in his music
Chapter 10
Listening
Five Pieces for Orchestra Five Pieces for Orchestra (1911-1913)(1911-1913)Third PieceThird Piece
Anton WebernAnton Webern
Listening Outline: p. 333Listening Outline: p. 333
Brief Set, CD 4:28Brief Set, CD 4:28
Listen for:Listen for: Lack of traditional melodyLack of traditional melody
Tone color washes over the listenerTone color washes over the listener
Dynamics never get above Dynamics never get above pppp
Chapter 10
Chapter 11: Béla Bartók
Hungarian, 1881-1945Hungarian, 1881-1945
Taught piano in Hungary, wrote pedagogy books
Like others, fled Nazis and came to live in the US
Used folksongs as basis of his music
– Went to remote areas to collect and record folksongs
Chapter 11
Bartók’s Music
Best known for instrumental works
– Especially piano pieces and string quartets
Compositions contain strong folk influences
Worked within tonal center
– Harsh dissonances, polychords, tone clusters
Chapter 11
Listening
Concerto for Orchestra Concerto for Orchestra (1943)(1943)22ndnd movement: movement: Game of PairsGame of PairsAllegretto scherzandoAllegretto scherzandoBéla Bartók
Listening Outline: p. 336Listening Outline: p. 336Brief Set, CD 4:29Brief Set, CD 4:29
Note:Note: Title of work derived from treatment of instruments inTitle of work derived from treatment of instruments insoloistic (soloistic (concertantconcertant) manner) manner
Ternary formTernary formPairing of instruments in “A” section gives name to Pairing of instruments in “A” section gives name to
thisthis movementmovementProminent drum partProminent drum part
Chapter 11
Chapter 12: Charles Ives
American, 1874-1954 - successful in insurance businessAmerican, 1874-1954 - successful in insurance businessMade $20.5 million in insurance.Made $20.5 million in insurance.
Worked as an insurance agent, composed music on the side
First published own music; initially ridiculed
Son of a professional bandmaster (director)
– Won Pulitzer Prize in 1947 for his Third Symphony
Wrote highly original music - During most of his lifetime, Ives’s musical compositionsaccumulated in the barn of his Connecticut farm.
Chapter 12
Ives’s Music
Music based upon American folk songs
Polyrhythm, polytonality, and tone clusters
– Claimed it was like two bands marching past each other on a street
Often, his music is very difficult to perform
Chapter 12
Listening
Putnam’s Camp, Redding, ConnecticutPutnam’s Camp, Redding, Connecticut (1912) (1912)from from Three Places in New EnglandThree Places in New England (1908?-14) (1908?-14)
Charles IvesCharles Ives
Listening Guide: p. 339Listening Guide: p. 339Basic Set, CD 8:7Basic Set, CD 8:7
Piece is based upon a child’s impression of a Fourth of July Piece is based upon a child’s impression of a Fourth of July picnic, two bands playingpicnic, two bands playing
Listen for:Listen for: PolyrhythmPolyrhythmPolytonalityPolytonalityHarsh dissonancesHarsh dissonances
Chapter 12
ListeningListening
Debussy - Prélude à L’Après-midi d’un Faune
Stravinsky - Le Sacre du Printemps
Schoenberg - Pierrot Lunaire, no. 1 Mondestrunken
Schoenberg - A Survivor from Warsaw
Webern - Third Piece from Five Pieces for Orchestra
Bartók - Concerto for Orchestra, 2nd mvt.
Still - Afro-American Symphony
Copland - Appalachian Spring, sect. 7
Varèse - Poème Électronique
Adams - Short Ride in a Fast Machine
Friday, 12/6/07Exam 6
Chapter 13: George Gershwin
American, 1898-1937American, 1898-1937
Wrote popular music, musical theatre, and serious
concert music– Frequently blended the three into a single style
- At 20, wrote Broadway musical La,
La, Lucille
- Wrote Swanee, Funny Face, and
Lady, Be Good
- Also, Rhapsody in Blue, Concerto in
F, An American in Paris, and opera
Porgy and BessChapter 13
Often co-wrote with his brother, Ira, as lyricist
Was friends and tennis partner with Schoenberg
Financially successful—songs were popular
Met Berg, Ravel, and Stravinsky in Europe
Died of brain tumor at age 38
ListeningListening
Rhapsody in BlueRhapsody in Blue, 1924, 1924George GershwinGeorge Gershwin
For piano and orchestraFor piano and orchestra
Listening Guide: p. 341Listening Guide: p. 341
Listen for:Listen for: Jazz influence, especially notable in Jazz influence, especially notable in
thethe clarinet introductionclarinet introduction
Chapter 13
Chapter 14: William Grant Still
American composer (1895-1978)American composer (1895-1978)
First African-American composer to have work performed by
a major American orchestra
First African-American to conduct a major symphony
orchestra (1936)
Also first to have an opera performed by a major opera
company (1949) - Troubled Island, about Haitian slave
rebellion
Later wrote film scores in Los Angeles
Born in Woodville, MS; grew up Little Rock, AR
Chapter 14
Worked for W. C. Handy in Memphis, TN
Listening
Afro-American SymphonyAfro-American Symphony (1931) (1931)William Grant StillWilliam Grant StillThird movementThird movement
Listening Outline: p. 344Listening Outline: p. 344Brief Set, CD 4:36Brief Set, CD 4:36
Listen for:Listen for: Blues and spiritual influenceBlues and spiritual influenceused a banjo w/orchestraused a banjo w/orchestraScherzo-like, as in a third movement fromScherzo-like, as in a third movement fromthe classical periodthe classical periodTernary formTernary form
Chapter 14
Chapter 15: Aaron Copland
American, 1900-1990 - studied w/Nadia BoulangerAmerican, 1900-1990 - studied w/Nadia Boulanger
Wrote music in modern style more accessible to audience than many other composers
– Ballets: Billy the Kid, Rodeo, Appalachian Spring– Lincoln Portrait, Fanfare for the Common Man
Drew from American folklore for topics
Chapter 15
Wrote simple, yet highly professional music
Other contributions to American music:– Directed composers’ groups– Organized concerts– Lectured, taught, and conducted– Wrote books and articles
Listening
Appalachian Spring,Appalachian Spring, (1943-44) (1943-44)Section 7: Theme and Variations on Section 7: Theme and Variations on Simple GiftsSimple GiftsAaron CoplandAaron Copland
Listening Outline: p. 348Listening Outline: p. 348Brief Set, CD 4:41Brief Set, CD 4:41
Ballet involves a pioneer celebration in spring in PennsylvaniaBallet involves a pioneer celebration in spring in Pennsylvania
Note:Note: Use of folk melody Use of folk melody(Shaker melody: (Shaker melody: Simple GiftsSimple Gifts))
Lyrics on p. 346Lyrics on p. 346
Theme and variation formTheme and variation form
Chapter 15
Characteristics of Music Since 1945
-Further development of twelve-tone system (or Serialism)
-Chance music that includes the random (or Aleatory)
-Minimalist music with tonality, pulse, repetition
-Deliberate quotations of earlier music in work
-Return to tonality by some composers
-Electronic music
-“Liberation of sound”—use of noiselike sounds
-Mixed media
-New concepts of rhythm and form
Chapter 16
Increased Use of the Twelve-Tone SystemAfter WWII, Europeans explored twelve-tone
Twelve-tone viewed as technique, not a style
– Nazi’s had banned music by Schoenberg and Jews
– European composers heard twelve-tone as “new”
Pointillist approach with atomized melodies
Webern’s music and style became popular
Joan Miro’s artwork
Extensions of the Twelve-Tone System: Serialism
Late 1940s and early 1950s
– Tone row ordered relationships of pitches
– Serialism ordered other musical elements
- Result was a totally controlled, organized music
- Relationships often very difficult to perceive
The system was used to organize rhythm, dynamics, and tone color
Chapter 16
Ex. Milton Babbitt’s Semi-Simple Variations
Chance Music1950s
Composers choose pitches, tone colors, and rhythms by random methods
– John Cage: 4’33”, Imaginary Landscape
– Karlheinz Stockhausen: Piano Piece No. 11
Also call aleatory
– From Latin alea, game of chance
Opposite of serialism
Chapter 16
“Liberation of Sound”
Use of wider variety of sounds than ever
– Some sounds were previously considered noises
Novel and unusual performance techniques are
required (screaming, tapping instrument, …)
Use of microtones, clusters, any new sound
Chapter 16
ListeningSonatas and InterludesSonatas and Interludes for Prepared Piano for Prepared Piano
Sonata II (1946-48)Sonata II (1946-48)John Cage (1912-1992)John Cage (1912-1992)
Listening Guide: p. 360Listening Guide: p. 360Brief Set, CD 4:47Brief Set, CD 4:47
Prepared piano is grand piano with objects inserted between Prepared piano is grand piano with objects inserted between some stringssome strings
Listen for:Listen for: Binary form—A A B BBinary form—A A B BPercussive sounds on some notesPercussive sounds on some notesPolyphonicPolyphonic
Chapter 17: Music since 1945: Five Representative Pieces
Chapter 17
Minimalist Music
Mid-1960s
– Steady pulse, clear tonality, repetition of short melodic fragments
– Dynamics, texture, and harmony constant over time
– Emphasis on simple forms, clarity, understatement
Characteristics
Chapter 16
Example: Steve Reich, Phillip Glass
Example of Minimalist art: Agnes Martin
Cultural Icon: Philip Glass, Minimalist Composer
Featured on SNL,
parodied on South Park,
collaborated with Rock Stars like
David Byrne and Laurie Anderson
Films scores The Hours, Fog of WarDracula, The Think Blue Line
Excerpt from Einstein on the Beach
ListeningListening
Short Ride on a Fast Machine Short Ride on a Fast Machine (1986)(1986)John Adams (b. 1947)John Adams (b. 1947)
Listening Outline: p. 370Listening Outline: p. 370Brief Set, CD 4:53Brief Set, CD 4:53
Post-minimalist work: Post-minimalist work: minimalistminimalist approach with expressive, approach with expressive, lyrical melodylyrical melody
Four-minute fanfare, one of most widely performed orchestral Four-minute fanfare, one of most widely performed orchestral works by a living composerworks by a living composer
Listen for:Listen for: Rapid tempo and rhythmic driveRapid tempo and rhythmic driveOrchestra, two synthesizers, percussionOrchestra, two synthesizers, percussionSteady beat on wood block, rapid-note Steady beat on wood block, rapid-note
ostinatos,ostinatos, repeated orchestral chordsrepeated orchestral chords
Chapter 17
Electronic Music
Uses technological advances for new music
– Recording tape, synthesizers, computers
– Allows composers to skip the middle step of performers
to convey their ideas to an audience
– Provides unlimited palette of sounds/tone colors
Chapter 16
ListeningListening
Poeme electroniquePoeme electronique ( (Electronic PoemElectronic Poem) 1958) 1958Opening 2:43 of the 8 minute pieceOpening 2:43 of the 8 minute piece
Edgard Varese (1883-1965)Edgard Varese (1883-1965)
Listening Outline: p. 362Listening Outline: p. 362Brief Set, CD 4:49Brief Set, CD 4:49
Early electronic compositionEarly electronic composition
Created using recording tape, wide variety of raw sounds that Created using recording tape, wide variety of raw sounds that are often electronically processedare often electronically processed
Listen for:Listen for: Electronic and electronically processed soundsElectronic and electronically processed soundsSome tone-like sounds, some noise-likeSome tone-like sounds, some noise-like
Chapter 17
Mixed Media
Visual art often combined with music for effect
Often intended to relax concert atmosphere
Chapter 16
Rhythm and Form
Some new compositions ignore rhythmic notation
and specify sound in seconds/minutes
– Some music “unfolds” without obvious form devices
Traditional forms giving way to new ideas
Chapter 16
Musical QuotationSince mid-1960s
Improves communication with audience– Quoted material conveys symbolic meaning
Frequently juxtaposes quoted material with others, creating an Ives-esque sound
Return to Tonality
Parallels quotation in implying other styles
Represents conscious break with serialism
Chapter 16