1. 20 th Century Music 1900 -

2. After Wagner and Brahms, there was little a composer could do to sound “new” and “fresh”. This forced experimentation with new systems of tonality, new ideas in rhythm and development of totally new musical systems.

3. A 20 th century composer must be willing to take chances, risk rejection and push the musical envelope, sometimes over the edge. They challenge the listener to rethink their old, conventional ideas of what made music.

4. Experimentation is encouraged and popularity is not as important as contribution to musical thought. Some types of 20 th Century music are more a “philosophy” than an attempt to create pleasing sound.

5. Some New Ideas in Harmony 11 th and 13 th chords – Extending the chord in thirds into areas which were previously considered dissonant. Now commonplace even in “pop” music. 11 th and 13 th chords Quartal Harmony – basing harmony on intervals of a 4 th rather than the traditional 3 rd. Gives and almost far eastern sound. ELP - Tarkus

6. Polytonality – when 2 or more tonalities (keys) are sounded at the same time. (Stravinsky Petrushka chord)Stravinsky Petrushka chord Atonality – tries to create a music which never establishes tonality. There is never a comfort point or a home base to return to. Equal emphasis is given to all of the available notes. (Schoenberg Piano)Schoenberg Piano

7. Electronic/Avant Garde – abandons “musical” sound in search of totally new timbres. (Fontana mix)Fontana mix

8. New ideas in rhythm include the idea of poly-rhythms where people may actually play in different meters (time signatures) at the same time. This is commonplace in much traditional African music. (Polyrhythms in modern drumming)Polyrhythms in modern drumming

9. IMPRESSIONISM

10. French movement corresponding to art. Painter’s interest in color = composer’s interest in timbre Subtle, delicate, rich harmonies, vague impressions, restrained romanticism. Interest in nature and mythology. Programatic.

11. IMPRESSIONISM Extreme dynamic changes. Large Orchestras sometimes with piano. Increased use of harp. Solo piano. Very fluid rhythms – changing meters. Not marked by strong, regular beats.

12. IMPRESSIONISM Claude Debussy Afternoon of a Faun Claire de Lune Maurice Ravel Bolero Pavane pour un infante defunte

13. Neo Romanticism Romantic ideals of emotion, personal expression, individualism, large orchestras, program music with new ideas in harmony, rhythm, melody, etc. “In your face” – not subtle or delicate. Some use of dissonance, eventual resolution.

14. Neo Romanticism Very large orchestras Very “involved” programs Stronger sense of beat German movement – Beethoven/Wagner Richard Strauss Also Sprach Zarathustra (2001) Gustav Holst The Planets Full performance  (Mars 1st, Venus @ 8:13, Jupiter @ 20:20)

16. Neo Classicism Classical ideals of balance, order, form, intellect over emotion with new ideas in harmony, rhythm, melody, etc. Some Baroque characteristics like increased interest in polyphony. Smaller orchestras Sharp, angular sounds. Sometimes seem disjointed rhythmically

17. Neo Classicism Increased use of dissonance with eventual resolution. Difficult melodies to sing along with. More “Absolute” approach to music. Less programatic. Compare with Picasso’s art works.

18. Neo Classicism Igor Stravinsky (1883 – 1971) Russian born. Eventually settled in the US. Probably the most important composer of not only neoclassicism, but the entire 20 th Century. Rite of Spring Firebird Symphony of Psalms

19. EXPRESSIONISM Music meant to be atonal. Dissonance without resolution. ATONAL – No sense of tonality, key, home base. Music never resolves to a comfort or rest point. Tries to avoid moving to the traditionally accepted musical places.

20. Expressionism 12 Tone Row. Serialism. Dodecaphonic. Gives equal emphasis to all 12 notes of the chromatic scale. Intervals of a 3 rd are not allowed (giving no hint of conventional music). Often uses all notes once before any can be repeated. Melodies extended using retrograde (backwards), inversion (upside down) and retrograde-inversion.

21. Expressionism Uses traditional instruments (piano, flute, orchestra, etc. Uses traditional notation (notes, rests, staff, clef, time signatures, etc.) and therefore sounds the same each time it is performed. It is not made up on the spot.

22. Expressionism Has melody, harmony, rhythm, form, etc. but in such a different way than we are used to that we may have a difficult time identifying those elements. That, in addition to the use of dissonance has led to this music not being popular with concert audiences, even though it is often performed in concert.

23. Expressionism Sprechstimme – an expressionist vocal technique halfway between singing and speaking. Used in some Expressionist operas. Explanation of sprechstimme

24. Expressionist Composers Arnold Schoenberg (1874-1951) Father of expressionism. Developed the theory of serial music. Pierrot Lunaire A Survivor from Warsaw Alban Berg Wozzeck (opera)Wozzeck (opera) Anton Webern Variations for OrchestraVariations for Orchestra Students of Schoenberg’s who promoted his musical ideas of atonality.

25. Electronic/Avant Garde Experimentation with sound. Often seems unmusical because it is so different from accepted musical practices. Search for sounds and timbres never heard before. There are many different ways to approach this type of music composition:

26. Electronic/Avant Garde 1) Recording traditional sounds onto tape and manipulating the tape to create new sound patterns. Change the speed, direction, effects on the tape. Renders the original sound unrecognizable. MUSIQUE CONCRETE Example 1 Example 2

27. Electronic/Avant Garde 2) Creating and manipulating brand new sounds conceived on a synthesizer or computer. Music written using on computer sounds 3) Using traditional sound sources in very untraditional ways. Prepared piano

28. Electronic/Avant Garde Does not (cannot) use traditional notation. Composition becomes the recording and manipulation process. Some composers invent new ways of notating their sounds.

31. Electronic/ Avante Garde Cannot be recreated live, so each “performance” will be different. Music is sometime referred to as Aleatory, or Chance music. Often seems more philosophical than musical.

32. Electronic/Avant Garde Composers John Cage (Talks about sound)Talks about sound Fontana Mix 4’33’’ 4’33’’ Milton Babbitt Phenomena for Soprano and Tape Stephen Reich Uses Minimalism to create music. Music for 18 Musicians

33. 20 th Century Romantic Writing as if new musical techniques had not been pioneered. As if they are living in the 19 th century. Serge Rachmaninoff (1873-1943) Russian composer in the same mold as Tchaikovsky – Purely Romantic. Emigrated to the US. Settled in California. Also respected as pianist and conductor. Piano Concerto No. 2 (2 nd Mvmt) Piano Concerto No. 2 (2 nd Mvmt) All By Myself

34. AMERICAN COMPOSERS George Gershwin (1898 – 1937) brought jazz to the orchestra. Known for his jazz and Broadway (popular) standards. Rhapsody in Blue American in Paris Porgy and Bess (first jazz/folk opera) Porgy and Bess Dozens of popular songs.

35. AMERICAN COMPOSERS Aaron Copland (1900 – 1990) “Dean of American music”. Experimented in many musical styles. Best known for his music based on themes and styles from the American west and mountain folk music. Hoedown Billy the Kidd Appalachian Spring Fanfare for the Common Man

36. AMERICAN COMPOSERS Leonard Bernstein (1918 - 1990) Conductor/composer/teacher. American trained. Candide Mass West Side Story