Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION by

Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION by
Prelude 7: Beyond Modernism? 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Prelude 7 Beyond Modernism?

The Postmodern Turn No agreed-upon definition of postmodernism
Best to talk about several different departures from the principles of modernism Experimentation: new media, new materials, new techniques All art—highbrow or lowbrow—has the same potential for greatness There is at present no agreed-upon definition of postmodernism. As with modernism, it may be best to talk about several different departures from tradition, ways of seeking expression beyond the principles of modernism. After World War II, the arts saw an explosion on experimentation: new media, new materials, and new techniques. All art—highbrow or lowbrow—has the same potential for greatness.

Prelude 7: Beyond Modernism?

Art, Film, Literature Architecture trends toward decorative elements
Abstract expressionism freed painting from the need to imitate objects in the real world New kind of Dadaist realism, pop art Other postmodern categories New classicism, minimalism, performance and multimedia art, earthworks Architecture trends away from sleek structures and toward buildings with decorative elements. Abstract expressionism freed painting from the need to imitate objects in the real world. Simultaneously in art, a new kind of Dadaist realism emerged, called pop art, drawing themes from everyday urban life. Other postmodern art subcategories include new classicism, minimalism, performance and multimedia art, and earthworks

Art, Film, Literature Pluralistic attitude toward gender, sexual orientation, and ethnicity Recognizable images, collage and quotation Film Godard, Fellini, Antonioni Campion, Tarantino, Reggio Literature Doctorow, Márquez, Vonnegut Angelou, Morrison, Tan Rowling Postmodern art embraces a pluralistic attitude toward gender, sexual orientation, and ethnicity. Some artists feature recognizable images in their works, employing the techniques of collage and quotation. This strategy takes something familiar and makes it unique. Postmodern film began with the “new wave” of the 1950s and ’60s, epitomized in the films of Godard, Fellini, and Antonioni. More recently, films with postmodern traits have been made by Campion, Tarantino, and Reggio. In literature a few postmodern novelists are Doctorow, Márquez, and Vonnegut. The writing of Angelou, Morrison, and Tan tend to explore topics of identity. Even J. K. Rowling’s Harry Potter books spin out postmodern themes.

Music in a Postmodern World
Mass media is compatible with art Cultural saturation of technology Musicals, film, and video game music Some continued on the path of Schoenberg, others developed the anti-rational element Postmodern music tends to break away from the modernist stance that mass media is incompatible with art. Musicians could not ignore the cultural saturation of technology, as recordings, radio, television, and the Internet have added to the musical landscape. The 1950s brought several enduring musicals, and now film and video game music extend the multimedia experience. Some composers continued on the path of Schoenberg, but others looked toward the anti-rational element in art.

Music as Protest Bob Dylan and Pete Seeger, the 1960s civil rights movement Vietnam War and the Woodstock Festival 1980s punk rock and rap Musical feminism Wars in Iraq and Afghanistan The last decades of the twentieth century provided plenty of causes worthy of the protest song tradition. Bob Dylan and Pete Seeger were important voices during the 1960s civil rights movement. Many at the 1969 Woodstock Festival spoke out against the Vietnam War. 1980s punk rock and rap had protest and social commentary at its core. Musical feminism took varied forms, from Joan Baez to the Dixie Chicks. The recent wars in Iraq and Afghanistan fueled a revival of musical commentaries, as did Barack Obama’s 2008 presidential campaign.

New Technologies Mid-twentieth-century electronic music
Musique concrète Electronische Musik Later the Moog synthesizer, the Yamaha DX7, MIDI, and digital sampling Advances in recording and playback technology heralded the advent of mid-twentieth-century electronic music. Two types developed simultaneously: • musique concrète, based in Paris, recorded sound and manipulated it. • Electronische Musik, based in Cologne, used only electronically produced sound. Later technologies that shaped the music industry were/are the Moog synthesizer, the Yamaha DX7 synthesizer, MIDI, and digital sampling.

Encounter: Music Technology
Technology can enhance the creative process Tod Machover explores interactivity using technology Hyperscore, Hyperinstruments Machover also interesed in popular culture VinylCello, sci-fi operas Machover’s Hyperpiano concerto Jeux Deux mvt. III Computers and technology can enhance the creative process. The composer Tod Machover explores musical interactivity using technology, especially “hyperinstruments.” Machover also demonstrates an interest in popular culture, as evident in his work VinylCello (for DJ turntable artist and amplified cello), as well as in his sci-fi operas. Hyperpiano concerto Jeux Deux mvt. III

Kristine Forney Andrew Dell’Antonio Joseph Machlis
Lecture Slides THE ENJOYMENT OF MUSIC SHORTER EDITION 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 62: New Sound Palettes: Mid-Twentieth-Century American Experimentalists
● Contemporary music often calls for innovative and highly virtuosic instrumental or vocal effects that challenge performers to new technical levels. ● Composer John Cage used a specially modified “prepared” piano to simulate the sound of the Javanese gamelan, an ensemble of metallic percussion instruments played in Indonesia (on the islands of Java and Bali, in particular). ● In his four books of madrigals, which treat the voice as a virtuosic instrument, composer George Crumb set texts by the Spanish poet Federico García Lorca.

New Sound Palettes: Mid-Twentieth-Century American Experimentalists
Musicians have always been expanding their sound-production resources Some have reached to other cultures and/or inventiveness Musicians have always been expanding their sound-production resources. Some have reached to other cultures and/or inventiveness.

Early Experiments Henry Cowell (1897–1965) combined Asian instruments with Western ensembles Also piano works included tone clusters and playing on the piano strings directly Harry Partch (1901–1974), proponent of microtones Developed a scale with 43 microtones Built/adapted instruments to play it Henry Cowell (1897–1965) combined Asian instruments with Western ensembles. In addition, his piano works included new techniques such as tone clusters and playing directly on the piano strings. Harry Partch (1901–1974) was a proponent of microtones, and developed a scale of 43 microtones to the octave in the 1920s. He then built and adapted instruments to play it.

The Music of John Cage Eternally questing artist
New sounds and concepts Idea of chance, or aleatoric, music Cage represents the eternally questing artist, whose works explore new sounds and concepts. One of his important contributions was the idea of chance, or aleatoric, music.

Sonatas and Interludes
Sixteen sonatas separated by interludes (LG 55) For prepared piano Materials inserted between the piano strings Varied timbres Sixteen sonatas in four groups of four, separated by interludes (LG55). These sonatas are for a modified piano Cage called “prepared piano.” For each prepared piano piece, Cage leaves detailed instructions indicating the placement and type of material to be inserted between certain piano strings. This alters the sound of some strings and not others, and the altered strings have varied timbres and pitches depending on the type of material.

John Cage (1912–1992) Early interest in non-Western scales
In 1938, invented the prepared piano Indeterminacy and chance music Explored the role of silence in 4'33" Raised profound questions about the nature of music John Cage was born in Los Angeles. He exhibited an early interest in non-Western scales, inspired by his mentor Henry Cowell. In 1938 he invented the prepared piano, a grand piano with various specified foreign substances inserted between its strings. His interest in indeterminacy and chance music led to a reconsideration of the composer’s role. Cage’s most radical statement, 4'33", explored the role of silence, consisting of nothing but the ambient sounds of the room for the piece’s duration. This and other Cage pieces raised profound questions about the nature of music.

George Crumb and Avant-Garde Virtuosity
Avant-garde music requires a new breed of players and singers George Crumb turns ordinary instruments (including the voice) into the extraordinary Avant-garde music requires a new breed of players and singers, equipped with an arsenal of unusual techniques. George Crumb turns ordinary instruments (including the voice) into the extraordinary.

Caballito negro (Little Black Horse) (LG 56)
Last of three songs in Crumb’s second book of madrigals, poetry by Lorca scored for soprano, percussion, and flute/piccolo Extended techniques Caballito negro (LG 56) is the last of three songs in Crumb’s second book of madrigals. All three songs in the second book are set to poetry by Lorca (the same poet to whom Revueltas paid homage earlier in this book) and are scored for soprano with metallic percussion and flute/piccolo accompaniment. Caballito negro calls for extended techniques, requiring the piccolo to flutter-tongue and the soprano to whinny like a horse.

George Crumb (b. 1929) Retired from composition faculty of the University of Pennsylvania in 1999 Special affinity for the poetry of Lorca Unusual vocal and instrumental effects Creating new sonorities and exploring theatrical concepts George Crumb retired from the composition faculty of the University of Pennsylvania in 1999, having previously taught in Colorado and New York. Crumb shows a special affinity for the poetry of Lorca, the poet executed by the Fascists during the Spanish Civil War. Crumb uses Lorca’s poetry in his song cycle Ancient Voices of Children and in his four books of madrigals. All of these abound in unusual vocal and instrumental effects. Crumb’s music is focused on creating new sonorities and exploring theatrical concepts.

Encounter: Javanese Gamelan
Westerners fascinated by gamelan since 1889 Paris World Exhibition Orchestra of metallic percussion found on Indonesian islands of Java, Bali, and Sunda Ritual ceremonies, court performances, and shadow-puppet theater (wayang) European and American composers have been fascinated with gamelan since its hypnotic sounds first came to the attention of Westerners at the 1889 Paris World Exhibition. Gamelan is an orchestra of (mostly) metallic percussion found on the Indonesian islands of Java, Bali, and Sunda. Gamelan is typically played for ritual ceremonies, court performances, and shadow-puppet theater called wayang.

Encounter: Javanese Gamelan
Shadow-puppet plays begin early evening and continue until dawn In Javanese music, the interaction of the melodic movement with a cyclical rhythmic structure determines the form of the work Shadow-puppet plays begin in the early evening and continue until dawn. A master puppeteer operates the puppets from behind a screen, narrates the story, sings the songs, and signals the gamelan when to play. Most wayang plots are from the Hindu epic Ramayana. In Javanese music, the interaction of the melodic movement with a cyclical rhythmic structure determines the form of the works, mostly passed down through oral tradition.

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 63: Staged Sentiment: Bernstein and American Musical Theater
● The roots of American musical theater lie both in vaudeville shows and in European operetta. ● Musicals feature romantic plots (some taken from novels), comic moments, appealing melodies, and large ensembles and dance numbers; the dialogue is mostly spoken. ● The “golden age” of the American musical, the mid-1900s, was characterized by composer-lyricist teams (George and Ira Gershwin, Lerner and Loewe, Rodgers and Hammerstein). ● Leonard Bernstein, a versatile conductor and composer, wrote the music for West Side Story, which transports the Romeo and Juliet story into New York City and its gang warfare.

Staged Sentiment: Bernstein and American Musical Theater
American musical theater rooted in the U.S. influential and popular all over the world Themes tend to be current, relevant, and vital One such theme is urban life Like jazz, American musical theater is rooted in the United States and is influential and popular all over the world. Its themes tend to be current, relevant, and vital. One such recurring theme in the American musical is urban life.

Musical Theater in North America
Mid-1800s Manhattan street called Broadway Minstrel shows giving way to vaudeville Vaudeville expanded into the variety show American musical theater developed from the variety show and the European operetta More serious dramatic elements after 1940s In the mid-1800s, New York became the cultural center of the country; in Manhattan, theaters lined the street called Broadway. Minstrel shows were beginning to give way to vaudeville, which still featured some blackface but included more and more characters from immigrant populations (often played by and for the immigrants themselves). Vaudeville expanded into the variety show, which was made up of musical and theatrical sketches, usually linked by some loose, topical theme. American musical theater developed from both the variety show and the European operetta tradition of Johann Strauss Jr., and Gilbert & Sullivan. Plots for early musicals were typically sentimental and contrived, but this changed when composers began looking to literary sources, and after the 1940s more serious dramatic elements were added.

Leonard Bernstein and West Side Story
Bernstein dedicated his life to promoting concert music to the general public West Side Story (LG 57) A retelling of Romeo and Juliet Street gangs Jets and Sharks Star-crossed lovers Tony and Maria Latin dance music and jazz Bernstein dedicated his life to promoting concert music to the general public. Bernstein’s most enduring project, West Side Story (1957), is based on the story of Romeo and Juliet, with lyrics by Stephen Sondheim. The story is set among street gangs of New York City, where the Jets feud against their Puerto Rican rivals, the Sharks, to the dismay of the “star-crossed lovers” Tony and Maria. The influences of Latin dance music and jazz permeate the score.

Interface: Music as Literature
Great literature has spawned countless ballets, operas, programmatic works, and musicals The use of familiar literature helps engage audiences while exposing them to new sights and sounds Great literature has spawned countless ballets, operas, programmatic works, and musicals. The use of familiar literature helps engage audiences while exposing them to new sights and sounds.

Leonard Bernstein (1918–1990) Born in Massachusetts, went to Harvard and the Curtis Institute Assistant conductor of New York Philharmonic; later music director Straddles the worlds of serious and popular music Vivid projection of NYC in his theater music Born in Massachusetts, Leonard Bernstein went to Harvard and the prestigious Curtis Institute. At age twenty-five he was appointed assistant conductor of the New York Philharmonic and became famous overnight when he had to step in for a guest conductor who fell ill; that night’s concert was televised coast to coast. He eventually became the first American-born conductor to be appointed music director of that ensemble. Bernstein’s music straddles the worlds of serious and popular music. He was capable of vivid projections of New York City in his theater music, including West Side Story.

Chapter 64: Less is More: Reich and Minimalist Music 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 64: Less is More: Reich and Minimalist Music
● Throughout the 1950s, the twelve-tone method gained prestige because of its perceived “scientific” nature. ● Some composers who rejected twelve-tone methods but did not find older tonal approaches satisfying developed process music and a style eventually called minimalism. ● Minimalist works rely on consonant musical elements repeated and gradually changed over extended time frames: an example is American composer Steve Reich’s Electric Counterpoint, for multiple guitars.

Less is More: Reich and Minimalist Music
The search for new musical “hooks” has been an ongoing one One noteworthy approach comes from the tradition of process music and minimalism The search for new musical “hooks” has been an ongoing one. One noteworthy approach comes from the tradition of process music and minimalism.

From Twelve-Tone to Process and Phase
The scientific nature of serialism appealed to some A new, also scientific way to approach stable harmonies was found in process music Developed through technology into phase music Phase music later by live musicians Schoenberg’s twelve-tone method was widespread in 1940s and 50s. Its appeal was not only its sonic expression but in the scientific nature of its method. Some composers began to develop an approach that would treat stable harmonies in a new way. Process music: a composer chooses a simple and harmonically clear musical idea and repeats it over and over, gradually changing or elaborating it over a long time span. Reich and other experimental composers used technology to develop process music: they would record a snippet of audio on a loop of magnetic tape and play several copies of that tape simultaneously. The tape speeds would slowly be changed, combining the loops in various ways. This was called phase music. Reich later experimented with having live musicians replicate the process of going in and out of phase.

Steve Reich (b. 1936) Born in NYC, studied modernist composition at Juilliard Wanted to write tonal music, pioneered process music Studied West African drumming and Balinese gamelan Judaic heritage central to many works Steve Reich was born in NYC and studied modernist composition at Juilliard. He really wanted to write tonal music, however, and pioneered process music. Reich also studied and was influenced by West African drumming and Balinese gamelan. Reich’s Judaic heritage is central to many of his works, including the Grammy-winning Different Trains, a modern response to the Holocaust.

African Influence In the 1970s Reich’s approach shifted
Inspired by polyrhythm of West Africa Led him to think about process music differently Now known as minimalism In the 1970s Reich’s approach shifted after encountering the polyrhythm of Ewe percussion ensembles in West Africa. Their layered, interlocked patterns led him to think about process music differently: as the texture builds up, it becomes less possible and less necessary for the listener to follow the process. This more developed process-influenced style is now known as minimalism.

Electric Counterpoint (LG 58)
Last of a series of works he called “counterpoint”; this one for twelve guitars Very different approach to harmony and complexity from goal-directed tonality The “hook” is less the initial musical idea, but how that idea is gradually combined with itself Electric Counterpoint (1987; LG 58) is the last of a series of minimalist works he called “counterpoint”; this one is for twelve guitars. The work takes a very different approach to harmony from goal-directed tonality: ambiguity and complexity are introduced by the layering of instruments in different ranges, and by small shifts in the musical patterns. Eventually the ambiguity is resolved as the layers peel off. The hook is less the initial musical idea than how that idea is gradually combined with itself

Encounter: East African Drumming
Europeans once viewed African music to be “primitive” The royal drum ensembles of Uganda consist of both pitched and unpitched drums, with pentatonic melodies and polyrhythms The music of sub-Saharan Africa was viewed historically by Europeans as “primitive,” a notion that is far from the truth. Composers like Cage and Reich introduced Asian and African elements into their compositions. The East African nation of Uganda was once divided into a number of kingdoms, each with its own ruler and court. Each court had a royal drum ensemble, made up of six musicians on fifteen drums. Some drums are pitched, some are unpitched. The pitched drums create gapped pentatonic melodies amid polyrhythmic structures.

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 65: Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings
● Musicians often pay homage to or elaborate on earlier composers’ ideas. ● Bob Dylan is one of the most inventive singer-songwriters of the last century, and his distinctive vocal and poetic styles have influenced many other musicians. One of his most treasured songs is Mr. Tambourine Man, made most popular by the folk-rock group the Byrds. ● John Corigliano, a prominent contemporary American composer, composed a song cycle using the evocative lyrics of selected Dylan songs, including Mr. Tambourine Man.

Returning with Interest: Dylan, Corigliano, and Postmodern Reworkings
Copyright laws have become increasingly strict In earlier times, using material from another composer was considered a tribute Copyright laws have become increasingly strict in the last century. In earlier times, using material from another composer was considered a tribute, especially if it was integrated into a new work and expanded to reflect a new perspective. A contemporary of J. S. Bach called this “returning with interest.”

Bob Dylan as Singer-Songwriter
Dylan is an outstanding singer-songwriter Musical style distinctive Form and melody are always irregular and surprising Lyrics are full of imagery, unusual forms and metric patterns Bob Dylan is widely recognized as an outstanding singer-songwriter. His musical style is distinctive, and his form and melody is always irregular and surprising. Dylan is a poet whose lyrics are full of imagery, presented in unusual forms and metric patterns.

Bob Dylan (b. 1941) Born in Minnesota
Moved to NY and met his idol Woody Guthrie Made a name for himself as a songwriter and protest singer In 1965 started using electric instruments, spawned a decade of experimentation Dylan is still active today Bob Dylan dropped out of college after his freshman year to move from his native Minnesota to New York City. There he met his idol Woody Guthrie and made a name for himself as a songwriter and protest singer. In 1965 Dylan started using electric instruments, which spawned a decade of experimentation for him. Dylan is still active today, enjoying a renewed popularity and receiving accolades.

Dylan’s Mr. Tambourine Man (LG 59)
Song on the 1965 album Bringing it All Back Home Opens with what reveals itself to be a refrain Each line of the verses a different length, all end inconclusively Successful cover version in 1965 by The Byrds “folk rock,” with added electric guitars and drums Bob Dylan’s song Mr. Tambourine Man was written in 1964–65 and is on his album Bringing it All Back Home. The song opens with what reveals itself to be a refrain. That refrain is in two phrases; an open cadence ends one phrase and a closed cadence the other. By contrast, each line of the verses is a different length, and all end inconclusively, with open cadences. The Byrds recorded a successful cover version in They added electric guitars and drums, pioneering the genre “folk-rock.”

John Corigliano and the Contemporary Song Cycle
Corigliano writes music rooted in the language of the past Also redefines genres Often writes works for specific ensembles or individuals John Corigliano writes music rooted in the language of the past but at the same time redefines traditional genres. He often writes works for specific ensembles or individuals, taking advantage of their particular capabilities.

Corigliano’s Mr. Tambourine Man
Sylvia McNair commissioned Corigliano to write a song cycle for her in 2000 Used lyrics/poems of seven Dylan songs (but not melodies) Originally for voice and piano, later orchestrated; songs unified by recurring motives Prelude (LG60) effervescent and quirky setting of the Dylan poem Sylvia McNair commissioned Corigliano to write a song cycle for her in Corigliano decided to use the lyrics/poems of seven Dylan songs (but not their melodies). The song cycle, called Mr. Tambourine Man: Seven Poems of Bob Dylan, was originally for voice and piano and was later orchestrated. The songs are unified by recurring motives. Prelude (LG 60) is an effervescent and quirky setting of the Dylan poem.

John Corigliano (b. 1938) Born in New York City into a musical family
Studied at Columbia and the Manhattan School of Music Prestigious teaching positions in New York Has won every distinguished award possible for his music, including an Academy Award and a Grammy Writes in diverse styles John Corigliano was born in New York City into a musical family. Since his studies at Columbia University and the Manhattan School of Music, Corigliano has held prestigious teaching positions in New York. Corigliano writes in very diverse styles, and has won every distinguished award possible for his music, including an Academy Award and a Grammy.

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century
● Some recent compositional trends speak to audiences alienated by highly intellectual modernist music. ● NeoRomanticism favors the lush harmonic language of the late Romantic era: the music is mostly tonal, chromatic, and highly virtuosic, with innovative timbral combinations. ● NeoRomantic works often feature program elements connected with a personal story, as in Jennifer Higdon’s tone poem blue cathedral.

Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century
Neo-Romanticism Embracing aspects of nineteenth-century orchestral sound, including program music “Modernizing” the nineteenth-century orchestral tradition One recent compositional trend is neo-Romanticism, which involves embracing aspects of nineteenth-century orchestral sound, including program music. In a sense the neo-Romantics are “modernizing” the nineteenth-century orchestral tradition.

A New Romanticism? Romantic style of the 1800s never really went away; still performed in concert halls Some composers maintained a commitment to Romanticism, updating it Samuel Barber’s Adagio for Strings Reclaiming nineteenth-century harmonic and melodic language in a new context The Romantic style of the 1800s never really went away; its music is still widely performed in concert halls. Some composers maintained a commitment to Romanticism, updating it for modern tastes. An example of this is Samuel Barber’s lush, emotional Adagio for Strings (1936). The neo-Romantics are reclaiming the nineteenth-century harmonic and melodic language in a new context.

Jennifer Higdon and blue cathedral (LG 61)
Higdon among the most widely performed living American composers Richly neo-Romantic Written in 2000, blue cathedral a tone poem Personal grief over death of her brother Maintains the tradition of program music Jennifer Higdon is among the most widely performed living American composers. Her style is richly neo-Romantic. Written in 2000, her blue cathedral is a tone poem which explores her personal grief over the death of her younger brother. The use of characteristic and unusual tone colors, plus the infusion of biographical elements, maintains the nineteenth-century tradition of program music.

Jennifer Higdon (b. 1962) Born in Brooklyn
Studied with George Crumb; inspired by the Beatles Output spans most genres, described as having an “American” sound Rooting in tonality, neo-Romanticism Pulitzer prize in 2010; teaches composition at the Curtis Institute Jennifer Higdon was born in Brooklyn. She studied with George Crumb, and found inspiration in the Beatles. Her output spans most genres, and is often described as having an “American” sound. Her works are firmly rooting in tonality and neo-Romanticism. Higdon won a Pulitzer Prize in 2010 for her violin concerto. She has taught composition at the Curtis Institute since 1994.

Chapter 66: Neo-Romantic Evocations: Higdon and Program Music into the Twenty-First Century

Chapter 67: Underscoring Meaning: Music for Film 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 67: Underscoring Meaning: Music for Film
● A film’s music sets the mood and helps establish the characters and a sense of place and time. ● There are two principal types of music in a film: underscoring and source music. ● The film music of John Williams uses full orchestral resources and leitmotifs (recurring themes) associated with characters or situations. ● Chinese composer Tan Dun has blended Asian and Western musical resources in his works, especially the soundtrack to Crouching Tiger, Hidden Dragon.

Underscoring Meaning: Music for Film
Multimedia often powerful; collaboration of several creative individuals Dramatic musical resources pioneered onstage now transformed for the screen Film, television, video games Multimedia is often very powerful, especially as a collaboration of several creative individuals. Some of the dramatic musical resources pioneered onstage have now been transformed for the screen: film, television, and video games.

Sound and Film Music has played an indispensible role in memorable film moments Reflects the emotions of a given scene Creates irony through juxtaposition Creates a sense of time and place Two main types of music in film Underscoring: comes from unseen source Source music: music functions as part of the drama itself Music has played an indispensible role in countless memorable film moments. Music in film can serve several purposes; quite often it: • Reflects the emotions of a given scene • Creates irony through juxtaposition • Creates a sense of time and place There are two main types of music in film: Underscoring, which comes from unseen source, and source music, which functions as part of the drama itself.

John Williams: Star Wars and Beyond
Mastery of leitmotif technique Revival of the grand symphonic film score, accessible neo-Romanticism Soundtrack for Star Wars remarkable achievement Leitmotifs carried across prequels and sequels Imperial March (LG 62) In the music for the Star Wars saga, John Williams displays complete mastery of Wagnerian leitmotif technique. Williams also is responsible for the revival of the grand symphonic film score with his accessible neo-Romantic style. The soundtrack for Star Wars is a remarkable achievement: leitmotifs are carried across prequels and sequels, creating continuity and supporting the general nature of a character as s/he transforms. Imperial March (LG 62)

John Williams (b. 1932) Born on Long Island, New York
Composed for television in 1950s; shifted to film in 1960s By the end of 1970s was Hollywood’s foremost composer Also composes classical symphonic works and was conductor of the Boston Pops Orchestra John Williams was born on Long Island, New York. He composed for television in the 1950s and shifted to film in the 1960s. By the end of the 1970s, Williams was Hollywood’s foremost composer. Williams also composes classical symphonic works and is a former conductor of the Boston Pops Orchestra.

Tan Dun: Blending East and West
Tan Dun is a composer of both classical and film music Score for Couching Tiger, Hidden Dragon won an Academy Award Blending of Asian and Western music Farewell (LG 63) combines two melodies representing a pair of lovers: one played by the cello, the other by an erhu Tan Dun is a composer of both classical and film music. His innovative score for Couching Tiger, Hidden Dragon won an Academy Award. The score presents a blending of Asian and Western music. The cellist Yo-Yo Ma, who was born in Paris to Chinese parents and was schooled in New York, is featured throughout, in combination with the erhu, a Chinese violin. Farewell (LG 63) combines two melodies representing a pair of lovers: one played by the cello, the other by the erhu.

Tan Dun (b. 1957) Born in China, grew up during Cultural Revolution
Inspired to explore Western music His own music was banned in China, so he left for the United States Works combine Chinese and Western styles and instruments Tan Dun was born in China, and grew up during the Cultural Revolution. After hearing Beethoven’s Fifth Symphony, he was inspired to explore Western music. His own music banned in China as “spiritual pollution,” so he left to settle in the United States. Tan Dun’s works combine Chinese and Western styles and instruments to great effect.

Encounter: Video Games
Music plays an important role in gaming Soundtracks as well as games for music-making Source music provides feedback to a player’s actions Underscoring adds intensity and meaning Nobou Uematsu (b. 1959) “Aerith’s Theme” from Final Fantasy VII (1997) Music plays an important role in gaming, by providing a soundtrack for games as well as in games and apps tied to music-making. Games use source music to provide feedback to a player’s actions. Underscoring adds intensity and meaning. Unlike film scores, however, the player’s choices determine the music heard—no two experiences are exactly alike. This requires a modular approach to underscoring, mastered by composers like Nobou Uematsu (b. 1959). Uematsu’s “Aerith’s Theme” from Final Fantasy VII (1997)

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 68: Icons in Sound: Tavener and Postmodern Orthodoxy
● Alongside the concert tradition, composers have continued to write expressive music for their religious communities. ● Like the Western Christian tradition, the Greek Orthodox tradition has roots in Jewish practice, but it developed in significantly different ways over the centuries. ● English composer John Tavener’s music employs concepts and specific traits of Orthodox ritual to convey a spiritual intensity that is designed to transcend individual religions.

Icons in Sound: Tavener and Postmodern Orthodoxy
After about 1800, Europeans embraced secular music and concert performances of sacred works Much of the music we encounter today has a non-sacred purpose But composers have never stopped focusing on spiritual goals After about 1800, Europeans embraced secular music and concert performances of sacred works. Much of the music we encounter today has a non-sacred purpose, but composers have never stopped focusing on spiritual goals.

Spiritual Minimalism Nonpulsed; chains of modal or tonal progressions, inspired by religious beliefs Górecki, Pärt Tavener infuses elements of neo-Romanticism with a devout spiritualism John Tavener was a prominent exponent of a branch of minimalism referred to as spiritual minimalism. This nonpulsed music employs chains of modal or tonal progressions, inspired by religious beliefs. Two other spiritual minimalists are Górecki and Pärt. Tavener infuses elements of neo-Romanticism with a devout spiritualism.

Tavener and Greek Orthodoxy
Tavener converted to Greek Orthodoxy Eastern Christian Church separated from the Western in 1054 Greek Orthodox chant uses microtones and irregular rhythms Tavener’s music also relies on repetition and icons Raised Presbyterian, John Tavener converted to Greek Orthodoxy in the 1970s and created music for its services. The Eastern Christian Church separated from the Western in 1054 and developed differing ritual practices and music. Greek Orthodox chant is rooted in scales and modes of the Greek and Byzantine tradition, employing microtones and irregular rhythms. Tavener’s music relies on these, as well as on the principles of repetition and icons.

John Tavener (1944–2013) Born in London
Early works show modernist influences After converting to Greek Orthodoxy in mid-1970s, refocused his attention to mystical topics Expanded his style into instrumental genres Later sought to combine the spiritual messages of many faiths John Tavener was born in London, and his early works show modernist influences. After converting to Greek Orthodoxy in the mid-1970s, Tavener refocused his attention to mystical topics. Tavener eventually expanded his style into instrumental genres, relying on the Orthodox tradition of icons. Later in his career, Tavener sought to combine the spiritual messages of many faiths.

A Hymn to the Mother of God (LG 64)
Scored for two six-voice choirs Celebrates Mary as Mother of God Use of drones and harmonies based on Greek Orthodox modes Short repeating motives recall minimalism Polyphonic choral writing inspired by Medieval and Renaissance church music Tavener’s A Hymn to the Mother of God is scored for two six-voice choirs. Like the Roman church, Greek Orthodoxy also celebrates Mary as the Mother of God. In this work Tavener uses drones and harmonies based on Greek Orthodox modes. The short repeating motives recall minimalism, and the polyphonic choral writing was inspired by Medieval and Renaissance church music.

Chapter 69: Reality Shows: Adams and Contemporary Opera 12TH EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis

Chapter 69: Reality Shows: Adams and Contemporary Opera
● Operatic composers sometimes choose historical topics, seeking to convey emotional truths through semi-fictional accounts of past events. ● American composer John Adams’s eclectic approach combines elements of minimalism with traits of neo-Romanticism, forging a post-minimalist style in his recent opera Doctor Atomic.

Reality Shows: Adams and Contemporary Opera
Sometimes deeper truths are sought in stories based on fiction But history has also always been represented in opera Not meant to be a documentary Sometimes deeper truths are sought in stories based on fiction, but history has also always been represented in opera. Historical opera is not meant to be a documentary; rather, it intends to evoke the intensity and complexity of the time.

John Adams and Post-Minimalism
John Adams writes accessible and deeply expressive music Minimalist style fused with neo-Romanticism John Adams combines accessible melodies and harmonies with deeply expressive contemporary devices. His is a minimalist style fused with neo-Romanticism.

John Adams (b. 1947) Educated at Harvard
Steeped in serialism, but listened to rock in dorm room Moved to San Francisco; advocate for contemporary music Began as a minimalist; gradual incorporation of neo-Romantic sumptuousness Stage works often topical and controversial John Adams was educated at Harvard. In his composition classes he was steeped in serialism, but preferred to listen to rock in his dorm room. In 1972 he moved to San Francisco and became an advocate for contemporary music. Adams’s early works are minimalist, and as he matured there was a gradual incorporation of neo-Romantic sumptuousness. His stage works are often topical and controversial.

Doctor Atomic Adams’s third opera focuses on the last days and hours before the first atomic test in 1945 Hopes and fears, awe and trepidation Act II chorus “At the sight of this” (LG65) captures this tension, with text from the Bhagavad Gita Hugely complex subject, combining science and art Doctor Atomic (2005) is Adams’s third opera, about the creation of the atomic bomb. Its libretto by Peter Sellars is based on memoirs, government documents, poetry, and Hindu scripture. The drama focuses on the last days and hours before the first atomic test in 1945, exploring the hopes and fears, awe and trepidation of those involved. The Act II chorus “At the sight of this” (LG 65) captures this tension, with a text from the Bhagavad Gita. Doctor Atomic takes on a hugely complex subject, combining science and art. Adams’s decision to make art about a lethal technology was criticized.

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