listening debussy - prélude à l’après-midi d’un faune stravinsky - le sacre du printemps...

ListeningListening

Debussy - Prélude à L’Après-midi d’un Faune

Stravinsky - Le Sacre du Printemps

Schoenberg - Pierrot Lunaire, no. 1 Mondestrunken

Schoenberg - A Survivor from Warsaw

Webern - Third Piece from Five Pieces for Orchestra

Bartók - Concerto for Orchestra, 2nd mvt.

Still - Afro-American Symphony

Copland - Appalachian Spring, sect. 7

Varèse - Poème Électronique

Adams - Short Ride in a Fast Machine

Friday, 12/6/07Exam 6

Twentieth-Century DevelopmentsTwentieth-Century Developments

Violence and progress are hallmarksViolence and progress are hallmarks

- Two world wars brought terrible new weapons

- Between wars boom/bust economic cycle

– First half of century: hardship and destruction

– Second half: colonial empires dismantled

- Multiple smaller-scale wars erupt worldwide

- Extended Cold War between US and USSR

- Many smaller wars fueled by Cold-War tactics

PART VI—THE TWENTIETH CENTURY AND BEYOND


Unprecedented rapid economic growth

Widespread gain in principle of equal rights

Rapid advancement of science and technology

– Sound recording

– Movies

– Radio

– Television

– Satellite

– Computers

– The Internet




Rapid, radical changes in the arts also occurRapid, radical changes in the arts also occur

– Shock value becomes goal of many art forms

- Modern dance clashes with classical ballet

- Picasso and cubism present distorted views as artwork

- Kandinsky and others no longer try to represent the visual world

– Individual artists use both traditional and radical styles

- Expressionists: deliberate distortion and ugliness as protest

Twentieth-Century DevelopmentsTwentieth-Century DevelopmentsSummary:

– US shapes world culture; new artistic world center

– Non-Western culture and thought affect all arts

– New technologies stimulate artists; new art forms

– Artists explore human sexuality; extremely frank

– More opportunities for female, African-American, and minority artists/composers than ever before

– Artists express reaction to wars/massacres in art

– Since 1960’s, pop-art begins to replace elitist art


Chapter 1: Musical Styles 1900-1945

First thirteen years brought radical changesFirst thirteen years brought radical changes

Composers broke with tradition and rules

– Rules came to be unique to each piece

Seen as time of revolt and revolution in music

– Some reviewers said that the new music had no relationship to music at all

- 1913 performance of The Rite of Spring caused a riot

– Sounds that were foreign to turn-of-the-century ears are now commonplace

Chapter 1

Key, pitch center, and harmonic progression

practices of the past were mostly abandoned

– Open-minded listening, without expectations based

upon previous musical practice, provides an opportunity

for musical adventure

Chapter 1

1900-1945: An Age of Musical Diversity

Vast range of musical styles during this timeVast range of musical styles during this time

– Intensifying of the diversity seen in the romantic period

Musical influences drawn from Asia and Africa

Folk music incorporated into personal styles

– American jazz also influenced composers

- For American composers, jazz was nationalistic music

- For European composers, jazz was exoticism

– Composers drawn to unconventional rhythms

Chapter 1

Major Stylistic trends:

Styles/movements:

- Neo-Classicism

- Impressionism

- Expressionism

- Primitivism

Style-forming aesthetic forces: Old vs. NewGlobalism vs. NationalismAbstraction vs. ReferentialityHigh Art vs. Low (Pop/vernacular elements)

Characteristics of Twentieth-Century Music

Tone Color

Unusual playing techniques were called for

Percussion use was greatly expanded

– New instruments were added/created

- Xylophone, celesta, woodblock, …

- Other “instruments:” typewriter, automobile brake drum, siren

– Glissando, flutter tongue, col legno, extended notes– Multiphonics

Chapter 1

Harmony

Consonance and Dissonance

Harmony and treatment of chords changed

- Opposite sides of the coin

– Before 1900: consonant and dissonant

– After 1900: degrees of dissonance

Chapter 1

New Chord Structures

PolychordQuartal and quintal harmony

Cluster

Chapter 1

Alternatives to the Traditional Tonal System

Composers wanted alternatives to major/minor

– Modes of medieval and Renaissance were revived

– Some composers created their own scales/modes

– Scales from music outside western Europe utilized

Chapter 1

- Serialism, an ultra strict method, develops from twelve-tone system

Another approach: use two or more keys at once

Atonality

– Polytonality (bitonality)

– No central or key note, sounds just “exist” and flow

Twelve-tone system– Atonal, but with strict “rules” concerning scale use

Chapter 1

Rhythm

Rhythmic vocabulary expanded– Emphasis upon irregularity and unpredictability

- Shifting meters

Listening Guide: p. 300

Brief Set CD 4:22

Chapter 1

Rhythm

Rhythmic vocabulary expanded

- Irregular meters

– Emphasis upon irregularity and unpredictability- Shifting meters

Bartok: Six Dances in Bulgarian Rhythm

Chapter 1

Rhythm

Rhythmic vocabulary expanded

- Irregular meters

– Polyrhythm

– Emphasis upon irregularity and unpredictability

- Shifting meters

Chapter 1

Melody

Melody no longer bound by harmony’s notes

Major and minor keys no longer dominate

Melody may be based upon a variety of scales, or even all twelve tones

– Frequent wide leaps

– Rhythmically irregular

– Unbalanced phrases

Chapter 1

Chapter 2: Music and Musicians in Society

Recorded and broadcast music brought the concert Recorded and broadcast music brought the concert hall to the living room, automobile, and elsewherehall to the living room, automobile, and elsewhere

– Music became part of everyday life for all classes

- Radio brought music to the living room

- Television (popular by 1950’s) brought viewer to the concert hall

– Becoming popular in 1920’s, recordings allowed lesser-

known music to reach broader audience

– In the 1930s, radio networks formed their own orchestras

Chapter 2

Modern composers alienated audience

– Turned to old familiar music (classical, romantic)

- For first time in history, older, not new, music was desired

– Recordings helped to make the modern familiar

Women became active as composers, musicians, Women became active as composers, musicians, and music educatorsand music educators

African-American composers and performers became more prominent

Chapter 2

Some governments controlled their music

– USSR demanded non-modern, accessible music

- Many artists and intellectuals left Europe for the US

– American orchestras became some of world’s best

– Hitler’s Germany banned Jewish composers’ work

- Working, creating, and teaching in American universities, they

enriched the culture of the US

American jazz and popular music swept the world

Universities supported modern music and composers—became music’s new patrons

Chapter 2

Chapter 3: Impressionism and Symbolism

Musical outgrowth of French art and poetryMusical outgrowth of French art and poetry

– Impressionism in music covered in next chapter

Chapter 3

– Viewed up close, the painting appears unfinished

French Impressionist Painting

Used broad brush strokes and vibrant colors

– Viewed from a distance it has truth (p. 304)

Focused on light, color, and atmosphere

Depicted impermanence, change, and fluidity

– A favorite subject was light reflecting on water

Style named after Monet’s Impression: Sunrise

Chapter 3

French Symbolist Poetry

Symbolists also broke with traditions and conventions

Avoided hard statements—preferred to “suggest” (symbolize) their topics

Symbolist poetry became the basis for many Impressionist musical works

Chapter 3

Chapter 4: Claude Debussy

French Impressionist composerFrench Impressionist composer

Crossed the romantic and twentieth-century eras (1862-1918)

Studied in Paris and Rome

Influenced by Russian and Asian music

Lived large; liked luxury, but stayed in debt

Chapter 4

Debussy’s Music

– Used five-note chords instead of traditional three

Attempted to capture in music what impressionist

painters did in visual art

Titles imply a program-music approach

Used orchestra as pallet of sounds, not tutti

Expanded harmonic vocabulary and practice

– Made use of pentatonic and whole-tone scales

Obscured harmony, tempo, meter, and rhythmChapter 4

Listening

Prelude to the Afternoon of a Faun Prelude to the Afternoon of a Faun (1894)(1894)Claude DebussyClaude Debussy

Listening Outline: p. 309Listening Outline: p. 309Brief Set, CD 4:9Brief Set, CD 4:9

The program material (a faun) concerns a pagan, The program material (a faun) concerns a pagan, half-man/half-goat creaturehalf-man/half-goat creature

Listen for:Listen for: Use of solo instrumentsUse of solo instrumentsDisguised meterDisguised meterExtended harmonic styleExtended harmonic style

Chapter 4

Chapter 5: Neoclassicism

Flourished 1920-1950Flourished 1920-1950

Based new compositions upon devices and forms of

the classical and baroque

– Partially due to limited resources in post-WWII Europe

Preferred to write for small ensembles

Sounded modern, not classical

Eschewed program music for absolute

– Used earlier techniques to organize twentieth-century harmonies and rhythms

Chapter 5

Chapter 6: Igor Stravinsky

Born in Russia (1882-1971)Born in Russia (1882-1971)

Studied with Rimsky-Korsakov

Chapter 6: Igor Stravinsky

Early success writing ballet music

– The Rite of Spring caused a riot at its premier in Paris

Moved due to the wars

– WWI went to Switzerland, to France afterward,

then to US at onset of WWII

Stravinsky’s Music

Utilized shifting and irregular meters

Ostinato

Rhythm as an independent structure

Non-developmental forms/harmony

Influential in the use of polytonal harmony

Cinematic cuts

Unique instrumentation for pieces

Listening

The Rite of SpringThe Rite of Spring, (1913) - ex. of Primitivism, (1913) - ex. of PrimitivismIgor StravinskyIgor StravinskyPart I: IntroductionListening Outline: p. 316 Brief Set, CD 4:16

Part I: Omens of Spring—Dances of the Youths & MaidensListening Outline: p. 317 Brief Set, CD 4:18

Part I: Ritual of AbductionListening Outline: p. 317 Brief Set, CD 4:22

Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring

Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance)

Chapter 6

Listening

The Rite of SpringThe Rite of Spring, (1913), (1913)Igor StravinskyIgor Stravinsky

Part II: Sacrificial DanceListening Guide: p. 318 Basic Set, CD 7:23

Ballet piece: tells story of prehistoric tribe paying tribute to the god of spring

Note use of rhythmic accent intended to portray primitive man (remember, this is a work for dance)

Chapter 6

Chapter 7: Expressionism

Attempts to explore inner feelings rather than depict outward Attempts to explore inner feelings rather than depict outward

appearancesappearances

Used deliberate distortions

– To assault and shock the audience

– To communicate tension and anguish

Chapter 7

Direct outgrowth of the work of Freud

Rejected “conventional prettiness”

– Favored “ugly” topics such as madness and death

Art also seen as a form of social protest

– Anguish of the poor

– Bloodshed of war

– Man’s inhumanity to man

Chapter 7

Chapter 8: Arnold Schoenberg

Born in Vienna (1874-1951)Born in Vienna (1874-1951)

First to completely abandon the traditional tonal

system

– Father of the twelve-tone system

Schoenberg was Jewish; when the Nazis came to

power, he was forced to leave; came to America

– Taught at UCLA until his death

Chapter 8

Schoenberg’s Music

– Gives equal importance to all twelve pitches in octave

– Starting 1908, wrote music with no key center

Atonality

The Twelve-Tone System

– Pitches arranged in a sequence or row (tone row)

- No pitch occurs more than once in the twelve-note row

in order to equalize emphasis of pitches

Chapter 8

Listening

Mondestrunken (Moondrunk)Mondestrunken (Moondrunk)from Pierrot lunaire, from Pierrot lunaire, Op. 21 (Op. 21 (Moonstruck Pierrot; 1912)Moonstruck Pierrot; 1912)Arnold SchoenbergArnold Schoenberg

Vocal Music Guide: p. 324Vocal Music Guide: p. 324Brief Set, CD 4:24Brief Set, CD 4:24

Program piece: The poet (Pierrot) becomes intoxicated, as moonlight floods Program piece: The poet (Pierrot) becomes intoxicated, as moonlight floods the still horizon, with desires that are “horrible and sweet.”the still horizon, with desires that are “horrible and sweet.”

Note: This song part of a twenty-one-song cycle Departure from voice/piano romantic art song: scored for voice,

piano, flute, violin, and cello

Freely atonal, intentionally no key centerUse of Sprechstimme, song/speech style developed by

SchoenbergExpressionist music and text

Chapter 8

Listening

A Survivor from WarsawA Survivor from Warsaw, 1947, 1947Arnold SchoenbergArnold SchoenbergCantata for narrator, male chorus, and orchestraCantata for narrator, male chorus, and orchestra

Vocal Music Guide: p. 326Vocal Music Guide: p. 326Brief Set, CD 4:25Brief Set, CD 4:25

Tells story of Nazi treatment and murder of Jews in occupied Tells story of Nazi treatment and murder of Jews in occupied PolandPoland

Note: Note: SprechstimmeSprechstimmeTwelve-tone techniqueTwelve-tone techniqueEnglish and German text with Hebrew prayerEnglish and German text with Hebrew prayerExpressionist music and text; shockingExpressionist music and text; shocking

Chapter 8

Chapter 9: Alban Berg

Born in Vienna, 1885-1935Born in Vienna, 1885-1935

Student of Schoenberg

Wrote atonal music

Due to ill health, did not tour or conduct– Possibly also reason for his small output

Most famous work is Wozzeck

– Story of a soldier who is driven to madness by society, murders his wife, and drowns trying to wash the blood from his hands (expressionist topic and music)

Chapter 9

Listening

WozzeckWozzeck, 1917-1922, 1917-1922Opera by Alban BergOpera by Alban Berg

Act III: Scene 4Listening Guide: p. 329

Basic Set, CD 7:32

Wozzeck, the soldier, returns to the scene of the crime to dispose of his knife

Note: Sprechstimme

Atonal

Expressionist subject matter

Chapter 9

ListeningListening

WozzeckWozzeck, 1917-1922, 1917-1922Opera by Alban BergOpera by Alban Berg

Act III: Scene 5

Listening Guide: p. 329

Basic Set, CD 7:40

Marie’s son (Wozzeck’s stepson) and other children are playing. Another

group of children rushes in saying they have found Marie’s body. As all

the children go to see, the opera ends abruptly.

Note: Sprechstimme

Atonal

Expressionist subject matterChapter 9

Chapter 10: Anton Webern

Born in Vienna, 1883-1945Born in Vienna, 1883-1945

Schoenberg’s other famous student

His music was ridiculed during his lifetime

Shy family man, devoted Christian

– Shot by US soldier by mistake near end of WWII

Chapter 10

Webern’s Music

Expanded Schoenberg’s idea of tone color being

part of melody

– His melodies are frequently made up of several two-to-

three-note fragments that add up to a complete whole

His music is almost always very short

– Tone color replaces “tunes” in his music

Chapter 10

Listening

Five Pieces for Orchestra Five Pieces for Orchestra (1911-1913)(1911-1913)Third PieceThird Piece

Anton WebernAnton Webern

Listening Outline: p. 333Listening Outline: p. 333

Brief Set, CD 4:28Brief Set, CD 4:28

Listen for:Listen for: Lack of traditional melodyLack of traditional melody

Tone color washes over the listenerTone color washes over the listener

Dynamics never get above Dynamics never get above pppp

Chapter 10

Chapter 11: Béla Bartók

Hungarian, 1881-1945Hungarian, 1881-1945

Taught piano in Hungary, wrote pedagogy books

Like others, fled Nazis and came to live in the US

Used folksongs as basis of his music

– Went to remote areas to collect and record folksongs

Chapter 11

Bartók’s Music

Best known for instrumental works

– Especially piano pieces and string quartets

Compositions contain strong folk influences

Worked within tonal center

– Harsh dissonances, polychords, tone clusters

Chapter 11

Listening

Concerto for Orchestra Concerto for Orchestra (1943)(1943)22ndnd movement: movement: Game of PairsGame of PairsAllegretto scherzandoAllegretto scherzandoBéla Bartók


Note:Note: Title of work derived from treatment of instruments inTitle of work derived from treatment of instruments insoloistic (soloistic (concertantconcertant) manner) manner

Ternary formTernary formPairing of instruments in “A” section gives name to Pairing of instruments in “A” section gives name to

thisthis movementmovementProminent drum partProminent drum part

Chapter 11

Chapter 12: Charles Ives

American, 1874-1954 - successful in insurance businessAmerican, 1874-1954 - successful in insurance businessMade $20.5 million in insurance.Made $20.5 million in insurance.

Worked as an insurance agent, composed music on the side

First published own music; initially ridiculed

Son of a professional bandmaster (director)

– Won Pulitzer Prize in 1947 for his Third Symphony

Wrote highly original music - During most of his lifetime, Ives’s musical compositionsaccumulated in the barn of his Connecticut farm.

Chapter 12

Ives’s Music

Music based upon American folk songs

Polyrhythm, polytonality, and tone clusters

– Claimed it was like two bands marching past each other on a street

Often, his music is very difficult to perform

Chapter 12

Listening

Putnam’s Camp, Redding, ConnecticutPutnam’s Camp, Redding, Connecticut (1912) (1912)from from Three Places in New EnglandThree Places in New England (1908?-14) (1908?-14)

Charles IvesCharles Ives

Listening Guide: p. 339Listening Guide: p. 339Basic Set, CD 8:7Basic Set, CD 8:7

Piece is based upon a child’s impression of a Fourth of July Piece is based upon a child’s impression of a Fourth of July picnic, two bands playingpicnic, two bands playing

Listen for:Listen for: PolyrhythmPolyrhythmPolytonalityPolytonalityHarsh dissonancesHarsh dissonances

Chapter 12

ListeningListening

Debussy - Prélude à L’Après-midi d’un Faune

Stravinsky - Le Sacre du Printemps

Schoenberg - Pierrot Lunaire, no. 1 Mondestrunken

Schoenberg - A Survivor from Warsaw

Webern - Third Piece from Five Pieces for Orchestra

Bartók - Concerto for Orchestra, 2nd mvt.

Still - Afro-American Symphony

Copland - Appalachian Spring, sect. 7

Varèse - Poème Électronique

Adams - Short Ride in a Fast Machine

Friday, 12/6/07Exam 6

Chapter 13: George Gershwin

American, 1898-1937American, 1898-1937

Wrote popular music, musical theatre, and serious

concert music– Frequently blended the three into a single style

- At 20, wrote Broadway musical La,

La, Lucille

- Wrote Swanee, Funny Face, and

Lady, Be Good

- Also, Rhapsody in Blue, Concerto in

F, An American in Paris, and opera

Porgy and BessChapter 13

Often co-wrote with his brother, Ira, as lyricist

Was friends and tennis partner with Schoenberg

Financially successful—songs were popular

Met Berg, Ravel, and Stravinsky in Europe

Died of brain tumor at age 38

ListeningListening

Rhapsody in BlueRhapsody in Blue, 1924, 1924George GershwinGeorge Gershwin

For piano and orchestraFor piano and orchestra

Listening Guide: p. 341Listening Guide: p. 341

Listen for:Listen for: Jazz influence, especially notable in Jazz influence, especially notable in

thethe clarinet introductionclarinet introduction

Chapter 13

Chapter 14: William Grant Still

American composer (1895-1978)American composer (1895-1978)

First African-American composer to have work performed by

a major American orchestra

First African-American to conduct a major symphony

orchestra (1936)

Also first to have an opera performed by a major opera

company (1949) - Troubled Island, about Haitian slave

rebellion

Later wrote film scores in Los Angeles

Born in Woodville, MS; grew up Little Rock, AR

Chapter 14

Worked for W. C. Handy in Memphis, TN

Listening

Afro-American SymphonyAfro-American Symphony (1931) (1931)William Grant StillWilliam Grant StillThird movementThird movement


Listen for:Listen for: Blues and spiritual influenceBlues and spiritual influenceused a banjo w/orchestraused a banjo w/orchestraScherzo-like, as in a third movement fromScherzo-like, as in a third movement fromthe classical periodthe classical periodTernary formTernary form

Chapter 14

Chapter 15: Aaron Copland

American, 1900-1990 - studied w/Nadia BoulangerAmerican, 1900-1990 - studied w/Nadia Boulanger

Wrote music in modern style more accessible to audience than many other composers

– Ballets: Billy the Kid, Rodeo, Appalachian Spring– Lincoln Portrait, Fanfare for the Common Man

Drew from American folklore for topics

Chapter 15

Wrote simple, yet highly professional music

Other contributions to American music:– Directed composers’ groups– Organized concerts– Lectured, taught, and conducted– Wrote books and articles

Listening

Appalachian Spring,Appalachian Spring, (1943-44) (1943-44)Section 7: Theme and Variations on Section 7: Theme and Variations on Simple GiftsSimple GiftsAaron CoplandAaron Copland


Ballet involves a pioneer celebration in spring in PennsylvaniaBallet involves a pioneer celebration in spring in Pennsylvania

Note:Note: Use of folk melody Use of folk melody(Shaker melody: (Shaker melody: Simple GiftsSimple Gifts))

Lyrics on p. 346Lyrics on p. 346

Theme and variation formTheme and variation form

Chapter 15

Characteristics of Music Since 1945

-Further development of twelve-tone system (or Serialism)

-Chance music that includes the random (or Aleatory)

-Minimalist music with tonality, pulse, repetition

-Deliberate quotations of earlier music in work

-Return to tonality by some composers

-Electronic music

-“Liberation of sound”—use of noiselike sounds

-Mixed media

-New concepts of rhythm and form

Chapter 16

Increased Use of the Twelve-Tone SystemAfter WWII, Europeans explored twelve-tone

Twelve-tone viewed as technique, not a style

– Nazi’s had banned music by Schoenberg and Jews

– European composers heard twelve-tone as “new”

Pointillist approach with atomized melodies

Webern’s music and style became popular

Joan Miro’s artwork

Extensions of the Twelve-Tone System: Serialism

Late 1940s and early 1950s

– Tone row ordered relationships of pitches

– Serialism ordered other musical elements

- Result was a totally controlled, organized music

- Relationships often very difficult to perceive

The system was used to organize rhythm, dynamics, and tone color

Chapter 16

Ex. Milton Babbitt’s Semi-Simple Variations

Chance Music1950s

Composers choose pitches, tone colors, and rhythms by random methods

– John Cage: 4’33”, Imaginary Landscape

– Karlheinz Stockhausen: Piano Piece No. 11

Also call aleatory

– From Latin alea, game of chance

Opposite of serialism

Chapter 16

“Liberation of Sound”

Use of wider variety of sounds than ever

– Some sounds were previously considered noises

Novel and unusual performance techniques are

required (screaming, tapping instrument, …)

Use of microtones, clusters, any new sound

Chapter 16

ListeningSonatas and InterludesSonatas and Interludes for Prepared Piano for Prepared Piano

Sonata II (1946-48)Sonata II (1946-48)John Cage (1912-1992)John Cage (1912-1992)

Listening Guide: p. 360Listening Guide: p. 360Brief Set, CD 4:47Brief Set, CD 4:47

Prepared piano is grand piano with objects inserted between Prepared piano is grand piano with objects inserted between some stringssome strings

Listen for:Listen for: Binary form—A A B BBinary form—A A B BPercussive sounds on some notesPercussive sounds on some notesPolyphonicPolyphonic

Chapter 17: Music since 1945: Five Representative Pieces

Chapter 17

Minimalist Music

Mid-1960s

– Steady pulse, clear tonality, repetition of short melodic fragments

– Dynamics, texture, and harmony constant over time

– Emphasis on simple forms, clarity, understatement

Characteristics

Chapter 16

Example: Steve Reich, Phillip Glass

Example of Minimalist art: Agnes Martin

Cultural Icon: Philip Glass, Minimalist Composer

Featured on SNL,

parodied on South Park,

collaborated with Rock Stars like

David Byrne and Laurie Anderson

Films scores The Hours, Fog of WarDracula, The Think Blue Line

Excerpt from Einstein on the Beach

ListeningListening

Short Ride on a Fast Machine Short Ride on a Fast Machine (1986)(1986)John Adams (b. 1947)John Adams (b. 1947)


Post-minimalist work: Post-minimalist work: minimalistminimalist approach with expressive, approach with expressive, lyrical melodylyrical melody

Four-minute fanfare, one of most widely performed orchestral Four-minute fanfare, one of most widely performed orchestral works by a living composerworks by a living composer

Listen for:Listen for: Rapid tempo and rhythmic driveRapid tempo and rhythmic driveOrchestra, two synthesizers, percussionOrchestra, two synthesizers, percussionSteady beat on wood block, rapid-note Steady beat on wood block, rapid-note

ostinatos,ostinatos, repeated orchestral chordsrepeated orchestral chords

Chapter 17

Electronic Music

Uses technological advances for new music

– Recording tape, synthesizers, computers

– Allows composers to skip the middle step of performers

to convey their ideas to an audience

– Provides unlimited palette of sounds/tone colors

Chapter 16

ListeningListening

Poeme electroniquePoeme electronique ( (Electronic PoemElectronic Poem) 1958) 1958Opening 2:43 of the 8 minute pieceOpening 2:43 of the 8 minute piece

Edgard Varese (1883-1965)Edgard Varese (1883-1965)


Early electronic compositionEarly electronic composition

Created using recording tape, wide variety of raw sounds that Created using recording tape, wide variety of raw sounds that are often electronically processedare often electronically processed

Listen for:Listen for: Electronic and electronically processed soundsElectronic and electronically processed soundsSome tone-like sounds, some noise-likeSome tone-like sounds, some noise-like

Chapter 17

Mixed Media

Visual art often combined with music for effect

Often intended to relax concert atmosphere

Chapter 16

Rhythm and Form

Some new compositions ignore rhythmic notation

and specify sound in seconds/minutes

– Some music “unfolds” without obvious form devices

Traditional forms giving way to new ideas

Chapter 16

Musical QuotationSince mid-1960s

Improves communication with audience– Quoted material conveys symbolic meaning

Frequently juxtaposes quoted material with others, creating an Ives-esque sound

Return to Tonality

Parallels quotation in implying other styles

Represents conscious break with serialism

Chapter 16

listening debussy - prélude à l’après-midi d’un faune stravinsky - le sacre du printemps...

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