Chapter 19 Prelude: Music and Modernism

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Chapter 19 Prelude: Music and Modernism
Chapter 19 Prelude: Music and Modernism
Presentation transcript:

Chapter 19 Prelude: Music and Modernism The Response of Modernism

Key Terms Serialism Objectivity

The Response of Modernism (1) If one can no longer trust laws of physics, scripture, or psychological certainty— Questioning rules & prohibitions in the arts is no big deal Should art represent objects realistically? When the camera can do it better? Early abstract art – cubism, expressionism Should literature use proper grammar? When a playful approach is more interesting? Symbolists, stream-of-consciousness (Joyce)

The Response of Modernism (2) Should music have a tune? Should harmony sound pretty? Do we really need a tonal center? Music’s assumptions were also questioned Schoenberg’s Pierrot lunaire of 1912 Traumatized the musical world Used Sprechstimme – half-speaking, half-singing style that ranged from whispers to shrieks – aggressive denial of melody Dissonant harmonies & no tonal center

New Languages for Art Art, literature, & music explored new styles & approaches, at times creating entirely new languages Cubism looks at objects from multiple perspectives simultaneously Finnegans Wake uses a language that mixes English words & words invented by Joyce Schoenberg’s 12-tone method arranges notes of the chromatic scale to create meaningful patterns without relying on a tonal center

Art and Objectivity New languages difficult for audiences Avant-garde arts often detached from public Detachment of technique from expression Result of new focus on artistic materials Also a reaction against Romanticism’s overheated emotionality New “objectivity” emerged strongly in 1920s Use of schematic, mathematical devices Mondrian’s straight lines & right angles Mechanistic rhythms of Stravinsky & Antheil

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