20th Century Music I.

Music Developments - concerts were organized in urban areas - flourishing of the virtuosi - performance of standard omantic literature - music for film - classical music in radio and in long playing records - opera continued to gain popularity - universities and colleges became ground for music e!perimentation - festival" master classes" clinics about modern music - music became an important tool in public education II. #eneral Characteristics of 20th Century Music $. greater freedom of melodic line 2. emancipation of dissonance %. evolution of new sounds &. complicated rhythms '. diversity of styles III. (lements of 20th Century Music ). Melody - wide intervals - e!treme registers - phrases were no longer balance - short motives Melodic Materials of the 20th Century $. *hole tone scale 2. +entatonic scale %. Modes &. ,welve ,one scale - developed by .choenberg '. Microtones - tones which are smaller than a semitone /. .prechstimme - 0.peech music1 2. hythm - composers tried to capture the hectic rhythms of life - passion for the unpredictable - always associated with physical activity - re3ection of standard pattern - imitated free verse hythmic Materials of the 20th Century $. syncopation 2. mi!ed meter - meters changes %. asymmetrical meter - '4&" 54&" 64& '. polyrhythm - use of different rhythms simultaneously /. free rhythm C. 7armony - dissonant - more freedom" unresolved and unprepared chords - increased chromaticism 7armonic Materials of the 20th Century $. )dded tones 8superimposed triads9 6th" $$th" $%th 2. polychord - two or more chords simultaneously %. :uartal and :uintal harmony - harmony based in &ths and 'ths respectively &. tone cluster '. dissonant and chromatic chords /. tonality is unclear and avoided 8as in atonal music9

D. ,e!ture - revival of contrapuntal te!ture - interest in linear than vertical aspect - return to classical ideals of balance and form 8as in neo-classical music9 - dissonant counterpoint (. Dynamics and (!pression - dynamics ranges from ppp to ffff - e!aggerated - very specific - written in different languages ;. ,one Color - use of smaller orchestra - ensembles of unusual combination - composers favor the less e!pressive winds - fol< instruments used - percussions received greater attention - piano was included in the modern symphony - instrumental effects= muted brasses" flutter-tongueing" col legno" etc - the prepared piano - screams" shouts" claps indicated in the score - electronic sound #. ;orm - continuation of previous forms but predominance of baro:ue and classical forms such as the suite" divertimento" etc. - music with free forms 8as in aleatoric music9 - music theater flourished form opera I>. Distinctive .tyles of 20th Century Composition ). Impressionism 2. ?eo-?ationalism C. +rimitivism D. (!pressionism (. ?eo-Classicism ;. Musi:ue Concrete #. )leatoric Music 7. ?eo- omanticism ). IM+ (..I@?I.M - Influenced by ;rench impressionist painters and poets - +aris was the center of this new style that revolted against #erman omanticism - the Impressionists sought to achieve the denial of realism and e!pressing only a suggestion or impression of an ob3ect" person or idea. ;or them art was sensuous than intellectual. Impressionist +ainters= Claude Monet" (dgar Degas" (douard Manet" )ugus enoir Impressionist +oets= +aul >erlaine" (dgar )llan +oe" .tephane Mallarme Impressionist Composers= Claude Debussy" Maurice avel Characteristics of Impressionist music $. addiction to beautiful sound 2. fondness for program concepts %. terms borrowing from paintins such as estampes" images" s<etches" etc &. imaginative tone painting '. shorter forms /. use of motives instead of long melodies

Impressionist Methods of Composition $. use of modes" pentatonic scale" whole tone scale 2. use of super imposed triads such as 6ths" $$ths" $%ths %. use of poly chords &. avoidance of clear cadences and tonality '. chords in parallel motion /. non resolution of dissonance 5. colorful orchestration= muted brasses and strings" woodwinds in dar< registers" percussion A. avoidance of long melodies and preference to short motives that are developed 2. ?(@-?),I@?)BI.M ,he use of fol< material in serious art music. Composers= 2ela 2arto< Coltan Dodaly )aron Copland alph >aughan *illiams #ustav 7olst C. + IMI,I>I.M It is a reaction to the over refinements of ;rench Impressionism. It is inspired by the music and culture of primitive life Characteristics= $. simple melodies 2. narrow ranged melodies %. massive harmonies &. parallel motion '. percussive effects /. strong impulse to a tonal center 5. ostinato rhythms A. rugged orchestration 6. clashing dissonances Composers= Igor .travins<y and 2ela 2arto< D. (E+ (..I@?I.M ,he #erman answer to ;rench Impressionism. *hile the ;rench dlighted in luminous impression from the oputer world" the #ermans dug down to the hidden regions of the mind. )rtists e!plored the shdowy terrain of the unconscious through symbolisms. It aspired to release the primordial impulse that civilized man suppressed. >isual arts consists of distorted images issued from the realm of the unconscious" hallucinations that defied the traditional notion of beauty. ,he e!pressionist re3ected the traditionally accepted beautiful. 7owever it retained some aspects of omanticism such as= love for overwhelming effects" high emotion" the macabre" the grotes:ue. Musical characteristics= $. wide melodic leaps 2. e!treme registers %. distortion of normal accents of words &. ma!imum intensity at all times '. re3ected consonance" highly dissonant F )tonality is the language of #erman (!pressionism ,welve tone ,echni:ue 4 .erialism 4 Dodecaphonic music - developed by )rnold .choenberg - based on a tone row 8series9 from the $2 chromatic tones of the scale which is dissonantly arranged and repeated throughout the wor< and sub3ected to various treatment such as inversion" retrograde" augmentation" diminution" etc. Composers= )rnold .choenberg )lban 2erg )nton von *ebern ,hey are also <nown as the .econd >iennese .chool

(. ?(@-CB)..ICI.M )ims= $. to re-establish the status of music as an autonomous art removed from life e!periences 2. to draw the listenerGs attention away from his emotions to concentrate on the tones alone Characteristics= $. re3ection of symbolism" meanings and emotions 2. revival of absolute forms %. wider intervals &. less chromaticism '. diatonic /. sharp orchestration 5. athletic musical style Composers= 2ela 2arto< Igor .travins<y .ergei +ro<ofiev oger .essons )aron Copland +aul 7indemith ;. )B(),@ IC MH.IC 8Chance or Indeterminate9 - ;lourished during the $6'0s" ispired by )le!ander CalderGs mobile - from the word alea 8dice9 - characterized by freedom" unconventional notations" use of graphs and symbols to represent sound events" use of dice or stop watch" prepared instruments 8piano9. Iohn Cage - principal composer #. (B(C, @?IC MH.IC - the use of magnetic tape in manipulating recorded sounds Musi:ue Concrete - actual sounds from nature are recorded and then 0processed1 in the studio. ,he recorded sounds are looped" slowed down or played fast. Cutting and splicing parts of the sound clips are also done. ,he finished composition will be re-recorded in one final cut. - the use of sound generators or synthesizers ;lourished in the $6/0s" synthesizers produced comple! sounds never before heard. - computer music (lectronic music can be produced by computers using music se:uencers and softwares Composers= (dgard >arese" Buciano 2erio" #yorgy Bigeti" #eorge Crumb 7. MI?IM)BI.M ) reaction to the comple!ities of electronic music. - uses simple melodies" harmonies" and motive repeated many" many times - characterized by ostinato" hypnotic repetitions" static harmonies" diatonic motives