1. Impressionism
Modernism
Expressionism
Serialism
Experimental
Minimalism
Electronic

2. Area of Study Two Changing directions in Western Classical music from 1900 Expressionism

5. Munch – The Scream

6. Expressionism
Atonal – the absence of a key. This idea was established at the beginning of the 20th century when composers were wanting to be ‘new’ and ‘different’. They didn’t want to create music that had a definite key signature. They valued each of the 12 semitones as a note within it’s own right with equal importance.
Extreme ranges
Cluster chords – lots of chromaticism / dissonance (clashing)
Sudden changes in mood and texture
No clear melody
Contrasting dynamics
Has little cadences, repetition or sequences

7. SCHOENBERG PERIPETIE

8. Arnold Schoenberg,
Albern Berg,
Anton Webern,
The Second Viennese School- the 3 composers belonged to this group- this is because they were all very similar in their style and approach to this new, modern style of music.
This style can be seen to be very artistic- it is a very personal and deeply expressive form of composing music.

9. Second Viennese School
Arnold Schoenberg
Teacher
Alban Berg
Student
Anton Webern

10. Arnold Schoenberg Born in Vienna, Austria, 1874.
Inspired by the expressionist painter Kandinsky. Expressionists believed that art should express inner feelings without being restricted by conventional forms. Abstract.
Pioneer of atonal music as he thought tonality was restrictive and couldn’t express the full range of human emotions.
He used lots of dissonance that did not resolve straight away.
He invented SERIALISM.

11. Composition VII by Kandinsky

12. Peripetie Context Composed in 1909 but revised in 1922 and 1949
Is the fourth movement from his ‘Five Orchestral Pieces’
Peripetie comes from a Greek word meaning ‘sudden changes’.

13. Listen to the piece and list both musical facts and your own opinion

15. Instrumentation
‘Peripetie’ was written for a large orchestra so he could produce contrasts with texture, dynamics & timbre.
It is written for quadruple woodwind (4 per section)
3 flutes & piccolo
3 clarinets & bass clarinet
3 bassoons & contrabassoon
3 oboes & cor anglais
A large brass section, with and without mutes.
A large percussion section – cymbals, timpani, xylophone
& of course strings
90 musicians are needed to perform this work.

16. HOMEWORK
Draw/ print and label the following instruments with brief descriptions of each:
Piccolo
Cor Anglais
Bass Clarinet
Contrabassoon
Tam-Tam

17. PERFORMANCE MARKINGS Haupstimme- Principal voice/main melodic line
Nebenstimme- Secondary voice/
next most importance in melodic line

18. Performance markings….
a 2 or a 3
All two or three bassoons should play the same notes
divisi
The players on this line divide into groups
pizz
Short for pizzicato- pluck the strings
arco
Bow the strings
bell up
The brass player points the bell end of their instruments upwards produces loud strident sound
1 solo
A single person plays this line
tutti
Everyone joins in again +
Hand-stopped- the horn player inserts their hand further than usual into the bell
Tremolo- note rapidly repeated

19. Revision
Context
Instrumentation
Performance markings

20. Harmony
HEXACHORD- this is a group of six notes played together. They can also be used to form short melodic ideas.
One example is played by the horns from the second beat of bar 8:
C Bb E F C♯ A
Notes can be played in any order and in any octave.
Hexachord compliment - take the other six available semitones:
B D Eb F♯ G G♯
- and use these to form another chord/motif. These can be transposed and reordered.

21. C Bb E F C♯ A B D Eb F♯ G G♯
Using these two hexachords, devise 30 seconds of music to represents this picture:

22. MOTIFS
Seven motifs are introduced very quickly right at the beginning of the piece
Each of the motifs is based on a hexachord
Here are the first three that we hear:
Motif A opens the movement. It is a short fanfare played by three clarinets, a bass clarinet and three bassoons.

23. Motifs continued….
Motif B :Piccolo, three flutes, three oboes and cor anglais, plus three clarinets in B flat and one in D (a very unusual clarinet). Notice all the accidentals creating the dissonant chord at the end of the motif.

24. Motifs continued…..
Motif C: Six horns playing, another angular line. Again the motif is in triplets but this time triplet quavers. Notice the use of the dissonant interval of a 7th.

25. Developing the motifs
The motifs are developed in the middle three sections through:
Imitation – where a motif in one part is repeated a few notes later in a different part overlapping the motif in the first part
Diminution – where the note values are made smaller (usually halved)
Melodic inversion – where the melody is turned upside down

26. Melody Made up of short fragmented motifs combined in different ways
First 18 bars = 7 different motifs quickly introduced
Melodies move in leaps.
Schoenberg uses octave displacement unexpectedly moving individual notes of main melody to different octave
Melodies are not developed or extended but varied through use of techniques e.g. inversion melody turned upside down) and rhythmic augmentation (notes become twice as long).

27. Rhythm, Metre and Tempo
What can you tell me about the rhythm, metre and tempo?
Look at your scores and remember to use music vocabulary!

28. Rhythm, Metre and Tempo Metre changes between 3/4, 2/4 , and 4/4
Tempo is Sehr rasch= very fast
Rhythms are complex and varied and change quickly.

29. Texture
How would you describe the texture of this piece?

30. Texture
Texture is largely polyphonic with occasional monophonic and homophonic moments. Complex textures built up through techniques such as imitation and inversion.

31. Structure How would you describe the structure of this piece of music?
This is open to interpretation…

32. Structure
No obvious melody but melodic fragments so the structure is difficult to define.
Free rondo form.
Five sections (ABACA).
It is called free rondo because it is very different to traditional rondo form from the classical period which had different clearly contrasting sections.

33. Dynamic outline: 1 19 35 44 59 A B A1 C A2 Motifs introduced
Motifs developed
Calmer sections that develop motifs in reverse order
Motifs developed in counterpoint
<fff> pp < fff > pp < > < fff pp

34. To conclude…

35. - Sehr Rasch (very fast)
STRUCTURE
- Free Rondo
TEMPO
- Sehr Rasch (very fast)
No obvious melody but KLANGFARBENMELODIE (tone colour melody) this is where a tune is passed around different instruments- quick changes between families of instruments-strings/ woodwind etc..
HEXACHORD – six notes that form a chord. C, Bb, E, F, C#, A
Tonality - atonal
INSTRUMENTATION: large orchestra. Quadruple woodwind (3 flutes & picc, 3 oboes & cor anglais, 3 cl & bass cl, 3 bsn & contabassoon. 6 horns, 3 trumpets, 4 trombones, tuba. Timp, cymbals, xylophone. String section.
Dissonant

36. REVISION
Quizlet.

38. Serialism

39. Every piece of 12-tone music is based on a scale (called a ‘note row’) that is devised especially for that piece of music.
The scale must contain 12 different notes (notes of the chromatic scale), each note to be used once only.

40. The notes are arranged in a chosen order – ‘P’ (for ‘prime order’)

41. The note row is then written backwards – ‘R’ (for ‘retrograde’)P R

42. ‘P’ is then turned upside down - ‘I’ (for ‘inversion’).

43. The notes of ‘I’ are written backwards – ‘RI’ (for ‘retrograde inversion’)

44. Each note of the row may be transposed at the octave.
Any of these four forms of the series may be transposed (raised or lowered in pitch) to begin on any of the 12 notes of the chromatic scale – P1 to P11 (for ‘prime’).
The row and its variants may be treated melodically and harmonically (chords built from the row).

45. Large jumps
Changes in dynamics, mood and texture