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Chapter 19 Prelude: Music and Modernism

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1 Chapter 19 Prelude: Music and Modernism
The Response of Modernism

2 Key Terms Serialism Objectivity

3 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)

4 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

5 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

6 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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