1. More important to create mood, variety, & continuity
The Early 20th Century (Age of Musical Diversity)
CHARACTERISTICS
TONE COLOR
More important to create mood, variety, & continuity
Glissando= running range of instrument from bottom to top
Coloring non-percussion instruments with percussive sounds
Noise like sounds from instruments

2. Percussion instruments become more prominent
The Early 20th Century (Age of Musical Diversity)
TONE COLOR
Percussion instruments become more prominent
Orchestra & Chamber works written for instruments that do not blend well to emphasize tone color differences

3. Unstable – dissonance /forward motion
The Early 20th Century (Age of Musical Diversity)
HARMONY
18 & 19 century used two types of chords
Stable – consonance
Unstable – dissonance /forward motion
20th century chords are blending of the two & some traditional chords abandoned all together
New chords types =
POLY CHORDS, 4ths Chords,
Still use triads but not only the only chord in town
12 tonal music

4. New ways to organize rhythm Jazz & modern beats (the drumset)
The Early 20th Century (Age of Musical Diversity)
RHYTHM
New rhythms
New ways to organize rhythm
Jazz & modern beats (the drumset)
Poly-Rhythms (multiple beats at one time)

5. Irregular lengths & shapes on purpose
The Early 20th Century (Age of Musical Diversity)
MELODY
Traditional melodies are no longer the rule
Scales and Traditional chords no longer the basis for composition
Melodies have….
Wide leaps
Irregular lengths & shapes on purpose

6. Born St. Petersburg Russia
The Early 20th Century (Age of Musical Diversity)
Stravinsky( )
Legend in his own time
Born St. Petersburg Russia
Grew up in music atmosphere studied early in life with Korsakov
Director of Russian ballet heard his music and commissioned works
After WWI went to Switzerland, then France
After WWII moved to US
Contemporaries were PICASSO , TS ELLIOT, and later in life honored by JFK

7. RITE OF SPRING 1913 (ballet) his 3rd ballet
The Early 20th Century (Age of Musical Diversity)
Stravinsky( )
LISTENING JOURNAL =
RITE OF SPRING 1913 (ballet) his 3rd ballet
Premiere in Paris and a riot breaks out
Shock and outrage over its pagan primitivism
Harsh dissonances, percussive, rapid meter change, violent off-beats, ostinatos
Inspired by a vision of pagan rite of young girl dancing herself to death as sacrifice to the god of spring

8. Born in Vienna (Jewish) Almost completely self-taught
The Early 20th Century (Age of Musical Diversity)
Schoenberg ( )
Born in Vienna (Jewish)
Almost completely self-taught
Lost 21 , devoted his life to music
Eventually the leader of the “2nd Vienna school of Music”
1908 abandoned traditional tonality
Was appointed to Prussian Academy of Arts in Berlin 1933
When Nazis seized power he fled to the US

9. ATONALITY = the absence of a key center
The Early 20th Century (Age of Musical Diversity)
Schoenberg ( )
ATONALITY = the absence of a key center
12 TONE SYSTEM = mathematical system of arranging 12 chromatic notes to form melodies
SPRECHSTIMME = style of vocal performance half way between speech and singing

10. (..composed around the time of RITE OF SPRING)
The Early 20th Century (Age of Musical Diversity)
Schoenberg ( )
Listening Journal :
Moonstruck -1912
(..composed around the time of RITE OF SPRING)
Song cycle of 21 songs for female voice and ensemble of 5 musicians playing 8 instruments
Departure of song cycle style by adding more instruments than just piano
Based on weird poems written by a Belgian poet

11. A Survivor From Warsaw (1947)
The Early 20th Century (Age of Musical Diversity)
Schoenberg ( )
Listening Journal :
A Survivor From Warsaw (1947)
Dramatic cantata for narrator, male chorus, orchestra
Deals with single episode in the holocaust of the Jews by the Nazis

12. Third piece from five pieces for orchestra
The Early 20th Century (Age of Musical Diversity)
Webern ( )
Born in Vienna
Student of Schoenberg (3rd member of 2nd school)
Listening Journal :
Third piece from five pieces for orchestra
Early atonal piece written before he completely adopted the 12 tonal system
Bells like sounds that come from instruments other than bells set the mood

13. Music is infused with the spirit of the eastern European Folk Song
The Early 20th Century (Age of Musical Diversity)
Bartok ( )
Born in Hungary
Music is infused with the spirit of the eastern European Folk Song
Mother taught him piano
He later taught piano at the Budapest Academy of Music
Spent time recording peasant folk songs in Hungary
Was recognized early as an important composer

14. CONCERTO FOR ORCHESTRA
The Early 20th Century (Age of Musical Diversity)
Bartok ( )
Was anti- nazi
In 1940 escape eastern Europe to the US were he spent last five years
1943 while in Hospital in New York was commissioned to write what is now his best known work
LISTENING JOURNAL :
CONCERTO FOR ORCHESTRA

15. Leading American composer born in Brooklyn.
The Early 20th Century (Age of Musical Diversity)
Copland ( )
Leading American composer born in Brooklyn.
Parents were Russian-Jewish Immigrants
Wanted to study “modern” music but 1st teacher wouldn’t allow
Went to France to study with woman who taught American composers and was sympathetic to contemporary trends

16. Was influenced by Jazz but still wrote in classical type style
The Early 20th Century (Age of Musical Diversity)
Copland ( )
Was influenced by Jazz but still wrote in classical type style
Scored for film and wrote many classics that are synonymous with AMERICAN music
LISTENING JOURNAL :
Appalachian Spring (1943)
Originated as a ballet but today is performed as both a ballet and a concert piece
Section 7 is theme and variations of a “Shaker” religious folk tune

17. 4’33” Cage (1912-1992) LISTENING to one of his most famous pieces
The Early 20th Century (Age of Musical Diversity)
Cage ( )
LISTENING to one of his most famous pieces
4’33”

18. Sonatas and interludes for prepared piano
The Early 20th Century (Age of Musical Diversity)
Cage ( )
Highly influential creator of chance music
Invented the prepared piano were sounds were altered by objects such as bolts, screws, rubber bands, ect……
LISTENING JOURNAL :
Sonatas and interludes for prepared piano