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The Early 20 th Century (Age of Musical Diversity) CHARACTERISTICS TONE COLOR More important to create mood, variety, & continuity Glissando= running range.

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Presentation on theme: "The Early 20 th Century (Age of Musical Diversity) CHARACTERISTICS TONE COLOR More important to create mood, variety, & continuity Glissando= running range."— Presentation transcript:

1 The Early 20 th 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

2 The Early 20 th 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

3 The Early 20 th Century (Age of Musical Diversity) HARMONY 18 & 19 century used two types of chords Stable – consonance Unstable – dissonance /forward motion 20 th 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

4 The Early 20 th Century (Age of Musical Diversity) RHYTHM New rhythms New ways to organize rhythm Jazz & modern beats (the drumset) Poly-Rhythms (multiple beats at one time)

5 The Early 20 th 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

6 The Early 20 th Century (Age of Musical Diversity) Stravinsky( ) 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

7 The Early 20 th Century (Age of Musical Diversity) Stravinsky( ) LISTENING JOURNAL = RITE OF SPRING 1913 (ballet) his 3 rd 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

8 The Early 20 th Century (Age of Musical Diversity) Schoenberg ( ) Born in Vienna (Jewish) Almost completely self-taught Lost 21, devoted his life to music Eventually the leader of the “2 nd 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

9 The Early 20 th Century (Age of Musical Diversity) Schoenberg ( ) 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

10 The Early 20 th Century (Age of Musical Diversity) Schoenberg ( ) Listening Journal : Moonstruck (..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

11 The Early 20 th Century (Age of Musical Diversity) Schoenberg ( ) 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

12 The Early 20 th Century (Age of Musical Diversity) Webern ( ) Born in Vienna Student of Schoenberg (3 rd member of 2 nd 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

13 The Early 20 th Century (Age of Musical Diversity) Bartok ( ) 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

14 The Early 20 th Century (Age of Musical Diversity) Bartok ( ) 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

15 The Early 20 th Century (Age of Musical Diversity) Copland ( ) Leading American composer born in Brooklyn. Parents were Russian-Jewish Immigrants Wanted to study “modern” music but 1 st teacher wouldn’t allow Went to France to study with woman who taught American composers and was sympathetic to contemporary trends

16 The Early 20 th Century (Age of Musical Diversity) Copland ( ) 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

17 The Early 20 th Century (Age of Musical Diversity) Cage ( ) LISTENING to one of his most famous pieces 4’33”

18 The Early 20 th Century (Age of Musical Diversity) Cage ( ) 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


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