neoclassicism i: hindemith

NEOCLASSICISM I:HINDEMITH

MUS 215 · MUSIC THEORY IV · DR. TOBY RUSH

MUSICAL ERAS

???

MUSICAL ERAS

MEDIEVALANTIQUITY

500

MUSICAL ERAS

RENAISSANCEMEDIEVALANTIQUITY

500 1400

MUSICAL ERAS

RENAISSANCEMEDIEVAL

1400

BAROQUE

1600

MUSICAL ERAS

RENAISSANCE BAROQUE

1600

CLASSICAL

1750

MUSICAL ERAS

BAROQUE CLASSICAL

1750

ROMANTIC

1820

MUSICAL ERAS

CLASSICAL ROMANTIC

1820

EARLY 20TH CENT.

1900

MUSICAL ERAS

ROMANTIC EARLY 20TH CENT.

1900

LATE 20TH CENT.

1945 ???

NEOCLASSICISM

NEOCLASSICISM1900 200019501925 1975

WO

RLD

WA

R I

·

191

4 –1

918

WO

RLD

WA

R I

I ·

19

39 –

1945

KOR

EAN

WA

R

· 1

950

–195

3

VIE

TN

AM

WA

R

· 1

955

–197

5

PER

SIA

N G

ULF

WA

R

· 1

990

–199

1

NEOCLASSICISM1900 200019501925 1975

WO

RLD

WA

R I

·

191

4 –1

918

WO

RLD

WA

R I

I ·

19

39 –

1945

KOR

EAN

WA

R

· 1

950

–195

3

VIE

TN

AM

WA

R

· 1

955

–197

5

PER

SIA

N G

ULF

WA

R

· 1

990

–199

1

PAUL HINDEMITH · 1895 – 1963

PAUL HINDEMITH1895–1963

CONCERTO FOR HORN [1950]

PAUL HINDEMITH1895–1963

NEOCLASSICISM THEORY

NEOCLASSICISM THEORY

• PANTRIADICISM

•QUARTAL HARMONY

• TWENTIETH-CENTURY COUNTERPOINT

• PANDIATONICISM

• POLYCHORDALISM & POLYTONALITY

• TWENTIETH-CENTURY RHYTHMIC TECHNIQUES

PANTRIADICISM

PANTRIADICISM

& # # # # .œ œ œn œ# œn .œn œ œ œ# œ

PANTRIADICISM

& # # # # ...œœœ œœœ œœœnnb œœœ#n œœœnbb ...œœœnn œœœ œœœbb œœœ#nn œœœbn

PANTRIADICISM

& # # # # ...œœœ œœœ œœœnnb œœœ#n œœœnbb ...œœœnn œœœ œœœbb œœœ#nn œœœbnE c D bb C Db D c

PANTRIADICISM

PANTRIADICISM

AEb

C

Ab E

Bb D

GF

DbC# Cb

BGbF#

QUARTAL HARMONY

TERTIAL

TERTIAL & œœœœ

TERTIAL & œœœœ BUILT FROM

m3 & M3

TERTIAL

SECUNDAL

& œœœœ BUILT FROM

m3 & M3

TERTIAL

SECUNDAL & œœœœœœœ& œœœœ BUILT FROM

m3 & M3

TERTIAL

SECUNDAL & œœœœœœœ& œœœœ

BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

TERTIAL

QUARTAL

SECUNDAL & œœœœœœœ& œœœœ

BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

TERTIAL

QUARTAL

SECUNDAL & œœœœœœœ& œœœœ& œœœbb

BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

TERTIAL

QUARTAL


BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

BUILT FROM

P4

TERTIAL

QUARTAL

SECUNDAL

QUINTAL

& œœœœœœœ& œœœœ& œœœbb

BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

BUILT FROM

P4

TERTIAL

QUARTAL

SECUNDAL

QUINTAL


& œœœbb

BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

BUILT FROM

P4

TERTIAL

QUARTAL

SECUNDAL

QUINTAL


& œœœbb

BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

BUILT FROM

P4

BUILT FROM

P5

TERTIAL

QUARTAL


BUILT FROM

m2 & M2

BUILT FROM

m3 & M3

BUILT FROM

P4

TERTIAL

QUARTAL

& œœœœ& œœœbb

BUILT FROM

m3 & M3

BUILT FROM

P4

QUARTAL HARMONY

QUARTAL HARMONY

• CHORD TYPES

• INVERSIONS

• FIGURED BASS

• ROMAN NUMERAL ANALYSIS

• CHROMATIC ALTERATIONS

• VOICE LEADING

QUARTAL HARMONY

& œœœbb

QUARTAL HARMONY

& œœœbbF

QUARTAL HARMONY

& œœœbbFq

QUARTAL HARMONY

& œœœbb

QUARTAL HARMONY

EbQ

& œœœbb

TWENTIETH CENTURY COUNTERPOINT

20th CENTURYCOUNTERPOINT




HARD




HARD

WICKED HARD




HARD

WICKED HARD

EASY

COUNTERPOINT

•MULTIPLE SIMULTANEOUS MELODIES

COUNTERPOINT


• EACH LINE HAS EQUAL MELODIC IMPORTANCE

COUNTERPOINT


• EACH LINE HAS EQUAL MELODIC IMPORTANCE

• EACH LINE HAS EQUAL RHYTHMIC IMPORTANCE

COUNTERPOINT

TWENTIETH-CENTURYCOUNTERPOINT


• CHORDS LINE UP ON THE BEAT



• AVOID PARALLEL SECONDS AND SEVENTHS



• AVOID PARALLEL SECONDS AND SEVENTHS

•MAINTAIN CONSTANT RHYTHMIC INTENSITY

&

&B?

c

c

c

c

&

&B?

c

c

c

c

œ œb œn œb

œ œb œ# œnœ œb œ# œb

œ œb œ# œb

œ œb œ# œ

œ œ œ# œœ œ œ# œb

œ œb œ# œ

&

&B?

c

c

c

c

œ œb œn œb


œ œb œ# œb

œ œb œ# œ


œ œb œ# œG Db Bb g

&

&B?

c

c

c

c

œ œb œn œb


œ œb œ# œb

œ œb œ# œ


œ œb œ# œG Db Bb gB6

4 F#6

&

&B?

c

c

c

c

œ œb œn œb


œ œb œ# œb

œ œb œ# œ


œ œb œ# œG Db Aq Bb gB6

4 F#6

&

&B?

c

c

c

c

œ œb œn œb


œ œb œ# œb

œ œb œ# œ


œ œb œ# œG AbQ Db Aq Bb gB6

4 F#6

G AbQ Db Aq Bb gB64 F#6

&

&B?

c

c

c

c

œ œ œ œ œb œ œ œ œn œ œ œ œb œ œ œ

œ œ œ œ œb œ œ œ œ# œ œ œ œn œ œ œnœ œ œ œ œb œ œn œ œ# œ œ œ œb œ œ œ

œ œ œ œ œb œ œ œ œ# œ# œ œ œb œ œ œ

œ œ œ œ œb œ œ œ œ# œ œn œ# œ œ œ œ

œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œn œœ œ œ œ œ œ œ œ œ# œ œ œ œb œ œ œ

œ œ œ œ œb œ œ œ œ# œ œ œ œ œn œn œ

G AbQ Db Aq Bb gB64 F#6

&

&B?

c

c

c

c

.œ œ œb œ œ œ œn œ œ œ œb

œ œ .œb œ œ# œ œ œn œ œ œnœ œ œ œb œn œ# œb œ

œ œb œ# œ œ# .œb œ

œ œ œ œb œ œ œ# .œ œ œ œ œ

œ œ œ œ œ œ œ# œ œ œ œn œ˙ .œ# œ œb

œ œ œ œb œ œ œ# œ œ œ œ œn

G AbQ Aq Bb gB64 F#6

&

&B?

c

c

c

c

.œ œ œb œ œ œ ˙n

œ œ .œb œ ˙#œ œ œ œb œn ˙#

œ œb ˙#




G AbQ Aq Bb gB64 F#6

&

&B?

c

c

c

c

.œ œ œb œ œ œ ˙n

œ œ .œb œ ˙#œ œ œ œb œn ˙#

œ œb œ# œ# œ œ œb œ œ œ




YES, IT’S GETTING WEIRD

YES, IT’S GETTING WEIRDBUT YOU STILL HAVE TO DO THE HOMEWORK

MUS 215 · MUSIC THEORY IVTHE UNIVERSITY OF NORTHERN COLORADO

neoclassicism i: hindemith

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