In the Second Half of the Twentieth Century

Total control Radical objectivism — extension of serial technique Integral serialism — precompositional control of interfacing musical components Interrogates the intention of musical “expression” Demands machinelike accuracy from performers

Extended techniques Expansion of timbral possibilities with existing instruments Long history of special effects in scoring — mutes, stopped horns, different bow placements and col legno, Sprechstimme, etc. Leads to invention of new notations Often justified by textual/programmatic considerations

Electronic music Electronic capability responding to different issues – invention of new sounds – complete control of musical organization Tape music – new sounds — musique concrète, synthesized tones – organization — overdubbing, tape loop Computer-generated music – new sounds — increased manipulation of timbre – organization — programmed form Music without performers — or performers in ensemble with recorded music

Indeterminacy Also called aleatory music or chance music Composer cedes some aspects of music to – uncontrolled circumstances – performers’ decisions Two types of indeterminacy – controlled sound but indeterminate structure – controlled structure but indeterminate sound John Cage, 4'33": Is the music – silent? – ambient sound? – listeners’ thoughts during performance?

Postmodernism Reaction to modernism Rejects progressive view of history Mistrusts objectivism, rejects science and technology as best sources of solutions to all problems Pluralism – no single governing epistemology – multiculturalism – eclecticism in artistic style — diversity and fusion

Minimalism Emphasizes process over product, duration over development Artistic material consists of small units form developed by – repetition – cycling or phasing Favors attentive but not necessarily analytical listening

Mixed-media and performance-oriented music Multimedia composition (or improvisation) – often takes advantage of technology – high interest factor for audiences – encourages programmatic topicality Performance art – features performer improvisation – often multimedia – engaging for audience “New Romanticism” — characterized by approachable sound, integration of art forms, expressive content

Some jazz styles after the 1940s Bebop (bop) – free treatment of harmony — increased dissonance – extreme virtuosity Cool jazz – less intense than bebop – mellower, ensemble-based sound Free jazz – independent of established harmonic progressions – exploitation of extended techniques Fusions – third stream — jazz and classical music – jazz-rock

Rock and roll First popular genre in Western tradition also supported by greatest wealth base, the American middle class Derived from union of rhythm and blues and country- western folk traditions Topical appeal to teenage audience Supported dance Social commentary — especially generational issues Dependent on recording industry and broadcast media Rapid development of different styles — postmodern manifestation

Questions for discussion At what periods in the Western musical tradition have there been notable emphasis on developing timbres as part of the compositional palette? Are there significant parallels between those periods and the twentieth century? How did the development of recording alter the positions of composer, performer, and listener in comparison to earlier eras? Do developments since 1950 demand rethinking of the definition of music? Can the position of popular music in the United States after World War II be paralleled to any earlier developments in the Western musical tradition?