1. Part 6 Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution America’s Musical Landscape 6th edition © 2010 The McGraw-Hill Companies, Inc. All rights reserved

2. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 2 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution2 Tradition and Innovation in Concert Music Music for the Concert Hall An unprecedented diversity of concert music styles flourished in the twentieth century Some American composers took an evolutionary approach to the composition of music Bridging European tradition and a distinctly American voice Others had a revolutionary approach Expanding the known boundaries of music

3. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 3 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution3 Tradition and Innovation in Concert Music Interaction between the Arts Close interaction between visual and literary artists extended to music and dance Multimedia Performances Interdisciplinary Inviting the audience to participate in ‘happenings’ Relationships between the Visual Arts and Music Texture and timbre

4. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 4 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution4 Tradition and Innovation in Concert Music The Value of Chance During the 1950s and 1960s, the idea of leaving elements of their work to chance appealed to many visual artists and musicians American Concert Music There is no unifying Western musical language A multiplicity of musical tongues

5. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 5 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution5 Experimental Music: Revolution Charles Ives (1874-1954) Owned successful insurance business Strong literary interests Wrote instrumental music – program music reflecting his New England home Wrote about 150 songs often quoting melodies from other musical sources

6. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 6 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution6 Listening Example 67 General Putnam’s Camp (from Three Places in New England) By Charles Ives (1874-1954) Listening guide page 357 TImbre: Symphony orchestra Texture: Linear polyphony in which each melodic line should be heard independently. The resulting combination of tones is not intended to be heard as harmony. This exuberant piece from 1914 included snatches of patriotic tunes which the composer altered, distorted and layered to create an intriguing sound.

7. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 7 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution7 Listening Example 68 At the River By Charles Ives (1874-1954) Tune and Text by Robert Lowry (1826-1899) Listening guide page 359 Texture: Basically homophonic Form: Verse-chorus Meter: Quadruple Ives borrowed the music and lyrics for this 1916 song from a hymn titled “Beautiful River.” He had used part of this melody earlier in his Sonata for Violin and Piano no. 4.

8. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 8 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution8 Other Characteristics of Ives’ Music Unusual tuning that creates the effect of sounding out of tune Bitonality – 2 keys at once Polytonality – many keys at once Polyrhythm – combination of 2 or more rhythmic patters Quarter tones and Microtones

9. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 9 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution9 Ives’ Place in History Ill health prevented Ives from continuing his musical explorations after the 1920s Twenty year later his music came to public attention His Third Symphony, written about 1904 and first performed in 1947, won a Pulitzer Prize Many of his innovations have become part of today’s normal music experience Still sound fresh

10. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 10 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution10 Henry Cowell (1897-1965) Early compositions use tone clusters Piano experiments Inspiration and ideas from Asia Rhythms divided by 5, 7 or other unconventional numbers Collaborated with Leon Theremin and developed the rhythmicon Founded quarterly journal called “New Music”

11. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 11 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution11 Listening Example 69 The Banshee By Henry Cowell Listening guide page 363 Timbre: Piano, played mostly on the strings, the timbre altered by Cowell’s experimental techniques Meter: Free Form: Through composed Two musicians are needed to perform this piece – one seated at the piano while depressing the damper pedal, and the other standing in the crook of the piano, manipulating the strings.

12. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 12 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution12 Concrete Music Experimental movement in Paris in the 1940s. Included these compositional processes: Selecting the sounds to be taped Recording the sounds Manipulating the sounds Mixing the sounds “Montage” – cutting and pasting the tape

13. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 13 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution13 John Cage (1912-1992) Addressed musical problems and questions like an inventor Interested in Asian philosophies, religions and musical styles Was inspired by Gamelan Music An Indonesian orchestra of metallophones (sets of keys suspended over a frame and struck with mallets), gongs and drums

14. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 14 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution14 Listening Example 70 Hudjan Mas (Golden Rain) (excerpt) Anonymous Listening guide page 368 Texture: Linear polyphony Timbre: A 25-piece orchestra of xylophone-like bronze-keyed instruments, tuned gongs, cymbals, drums, and flutes Meter: Free Form: A series of simultaneous variations over repeated ostinatos This composition for Balinese Gamelan Gong Kebjar often Serves as a prelude or instrumental interlude in a longer dance composition.

15. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 15 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution15 John Cage: Prepared Piano Prepared piano Modified or ‘prepared’ the piano by applying wood, metal, or rubber to the strings Created percussive timbres and indeterminate pitches Cage composed several independent compositions for prepared piano Sonatas and Interludes – sixteen sonatas and four interludes, considered his masterwork

16. © 2010 by The McGraw-Hill Companies, Inc. All rights reserved. 16 Part 6: Tradition and Innovation in Concert Music Chapter 20: Experimental Music: Revolution16 Listening Example 71 Sonata V (from Sonatas and Interludes for Prepared Piano) By John Cage (1912-1992) Listening guide page 370 Timbre: The piano is prepared so as to produce wooden and metallic sounds similar to those of a gamelan Meter: Duple Form: Binary (two-part): aabb This piece is organized according to rhythmically complex patterns.