Transcript The Early 20 th Century (Age of Musical Diversity)

• The Early 20th Century (Age of Musical Diversity)
• CHARACTERISTICS
• TONE COLOR
• More important to create mood, variety, &
continuity
• Glissando= running range of instrument from
bottom to top
• Coloring non-percussion instruments with
percussive sounds
• Noise like sounds from instruments
• The Early 20th Century (Age of Musical Diversity)
• TONE COLOR
• Percussion instruments become more
prominent
• Orchestra & Chamber works written for
instruments that do not blend well to
emphasize tone color differences
• The Early 20th Century (Age of Musical Diversity)
• HARMONY
• 18 & 19 century used two types of chords
• Stable – consonance
• Unstable – dissonance /forward motion
• 20th century chords are blending of the two &
some traditional chords abandoned all together
• New chords types =
• POLY CHORDS, 4ths Chords,
• Still use triads but not only the only chord in town
• 12 tonal music
• The Early 20th Century (Age of Musical Diversity)
• RHYTHM
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New rhythms
New ways to organize rhythm
Jazz & modern beats (the drumset)
Poly-Rhythms (multiple beats at one time)
• The Early 20th Century (Age of Musical Diversity)
• MELODY
• Traditional melodies are no longer the rule
• Scales and Traditional chords no longer the basis
for composition
• Melodies have….
• Wide leaps
• Irregular lengths & shapes on purpose
• The Early 20th Century (Age of Musical Diversity)
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Stravinsky(1882-1971)
Legend in his own time
Born St. Petersburg Russia
Grew up in music atmosphere studied early in life
with Korsakov
Director of Russian ballet heard his music and
commissioned works
After WWI went to Switzerland, then France
After WWII moved to US
Contemporaries were PICASSO , TS ELLIOT, and
later in life honored by JFK
• The Early 20th Century (Age of Musical Diversity)
• Stravinsky(1882-1971)
• LISTENING JOURNAL =
• RITE OF SPRING 1913 (ballet) his 3rd ballet
• Premiere in Paris and a riot breaks out
• Shock and outrage over its pagan primitivism
• Harsh dissonances, percussive, rapid meter
change, violent off-beats, ostinatos
• Inspired by a vision of pagan rite of young girl
dancing herself to death as sacrifice to the god of
spring
• The Early 20th Century (Age of Musical Diversity)
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Schoenberg (1874-1951)
Born in Vienna (Jewish)
Almost completely self-taught
Lost job @ 21 , devoted his life to music
Eventually the leader of the “2nd Vienna school of
Music”
• 1908 abandoned traditional tonality
• Was appointed to Prussian Academy of Arts in
Berlin 1933
• When Nazis seized power he fled to the US
• The Early 20th Century (Age of Musical Diversity)
• Schoenberg (1874-1951)
• ATONALITY = the absence of a key center
• 12 TONE SYSTEM = mathematical system of
arranging 12 chromatic notes to form melodies
• SPRECHSTIMME = style of vocal performance half
way between speech and singing
• The Early 20th Century (Age of Musical Diversity)
• Schoenberg (1874-1951)
• Listening Journal :
• Moonstruck -1912
• (..composed around the time of RITE OF SPRING)
• Song cycle of 21 songs for female voice and
ensemble of 5 musicians playing 8 instruments
• Departure of song cycle style by adding more
instruments than just piano
• Based on weird poems written by a Belgian poet
• The Early 20th Century (Age of Musical Diversity)
• Schoenberg (1874-1951)
• Listening Journal :
• A Survivor From Warsaw (1947)
• Dramatic cantata for narrator, male chorus,
orchestra
• Deals with single episode in the holocaust of the
Jews by the Nazis
• The Early 20th Century (Age of Musical Diversity)
• Webern (1885-1935)
• Born in Vienna
• Student of Schoenberg (3rd member of 2nd school)
• Listening Journal :
• Third piece from five pieces for orchestra
• Early atonal piece written before he completely
adopted the 12 tonal system
• Bells like sounds that come from instruments
other than bells set the mood
• The Early 20th Century (Age of Musical Diversity)
• Bartok (1881-1945)
• Born in Hungary
• Music is infused with the spirit of the eastern
European Folk Song
• Mother taught him piano
• He later taught piano at the Budapest Academy of
Music
• Spent time recording peasant folk songs in
Hungary
• Was recognized early as an important composer
• The Early 20th Century (Age of Musical Diversity)
• Bartok (1881-1945)
• Was anti- nazi
• In 1940 escape eastern Europe to the US were he
spent last five years
• 1943 while in Hospital in New York was
commissioned to write what is now his best
known work
• LISTENING JOURNAL :
• CONCERTO FOR ORCHESTRA
• The Early 20th Century (Age of Musical Diversity)
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Copland (1900-1990)
Leading American composer born in Brooklyn.
Parents were Russian-Jewish Immigrants
Wanted to study “modern” music but 1st teacher
wouldn’t allow
• Went to France to study with woman who taught
American composers and was sympathetic to
contemporary trends
• The Early 20th Century (Age of Musical Diversity)
• Copland (1900-1990)
• Was influenced by Jazz but still wrote in classical
type style
• Scored for film and wrote many classics that are
synonymous with AMERICAN music
• LISTENING JOURNAL :
• Appalachian Spring (1943)
• Originated as a ballet but today is performed as
both a ballet and a concert piece
• Section 7 is theme and variations of a “Shaker”
religious folk tune
• The Early 20th Century (Age of Musical Diversity)
• Cage (1912-1992)
• LISTENING to one of his most famous pieces
• 4’33”
• The Early 20th Century (Age of Musical Diversity)
• Cage (1912-1992)
• Highly influential creator of chance music
• Invented the prepared piano were sounds were
altered by objects such as bolts, screws, rubber
bands, ect……
• LISTENING JOURNAL :
• Sonatas and interludes for prepared piano