1. TWENTIETH CENTURY Western Art Music after 1900

2. Historical Context  --many scientific discoveries and explorations  --age of Einstein and Freud  --abstract artwork (Picasso)  --wars, especially WWI, led to feelings of disillusionment with society

3. New Avenues to Music  Recording capabilities allow composers and musicians to study music from around the world  Composers recorded their own music so that musicians can hear their intentions  Music scholars travelled into rural areas, recording folk songs (Hungarian composer Béla Bartók and Australian/British Percy Grainger were famous for this)  Jazz influence can be seen in “classical” works, especially after WWI American soldiers introduced this genre to Europe  The invention of the radio helped millions hear music weekly (Saturday opera performances at the Met, NBC’s Symphony Orchestra, etc)

4. Musical Society  Concerts in the 20 th century began to feature “old” music of the masters (Bach, Beethoven, etc.) rather than much contemporary music; in earlier eras, only the current music of the time was played frequently  Women and minority composers began to be accepted somewhat

5. **There is no set way 20 th century music was composed--no universal or uniform sound. The music is as diverse as the many composers. The following characteristics are general aspects but were not always the case. Musical Characteristics

6. Tone Color/Orchestration  The choice of instruments was of utmost importance to 20 th century composers; the music relies on the particular timbres (tone colors) of the instruments selected by composers.  Percussion instruments now integral to the orchestra  Composers often called for extreme high or low pitches, unusual combinations of instruments, and non-standard instrumental techniques (such as striking the strings inside a piano, glissandos, and flutter tongue [essentially rolling your tongue while blowing into an instrument])

7. Melodies  Melodies in 20 th century pieces often contain very wide leaps.  They are often very irregular in length.  They are frequently unsingable.  The point of the music is not necessarily to sound good or pretty; this is particularly true in the middle of the century.

8. Harmony  There is increased use of dissonance (unstable chords where the notes usually do not sound good together).  Chords are not always built on the interval of a third as they had been for several centuries.  Tone clusters are common; imagine playing the piano with your arm, hitting several keys at once.  There are frequent key shifts (modulations), no key center at all (atonal music), or music in multiple keys at the same time (polytonal).

9. Rhythm  New rhythm patterns  More complex patterns (especially those based on folk music and Latin American dance music)  The meter changes frequently (arrangement of the beats)—perhaps one measure is in 4 and the next is in 7.

10. --Impressionism --Neoclassicism --Expressionism --Aleatory Music --Serialism --Minimalism Style Movements of the Age

11. Impressionism  Inspired by French painters such as Monet and Renoir (note painting in book—Sec. 19.1)  The artwork featured a formless collection of tiny color patches that took form when viewed from a distance. The mood or atmosphere is more important than an actual object. It often looks blurry and misty. The music sounds similar, very vague and shimmering.  Notable composers: Claude Debussy and Maurice Ravel

12. Claude Debussy  1862-1918; French  Composer who most linked the Romantic period to the 20 th century  Music evokes fleeting mood and misty/hazy atmosphere  Improvisational feel, subtle changes in tone color, new pedal effects on piano  Prelude to the Afternoon of a Faun, Clair de Lune (Moonlight), Sunken Cathedral

13. Maurice Ravel  1875-1937; French  Influenced by Debussy; some Impressionistic works (Jeux d’eau)  Many works are more classically strucutred  Obsessive rhythmic repetition (Bolero)  Ambulance driver in World War I

14. Composers in Romantic Tradition (“Regular”)  Most were Russian  Prokofiev (1891-1953)  Shostakovich (1906-1985) relationship with Soviet government  Rachmaninoff  Symphonies, piano concerti, Rhapsody on a Theme of Paganini, Vocalise

15. Neoclassicism  Call for a return to the balance, clarity, and restraint principles from the Classical Era  Less program music  Music written for smaller ensembles; this was partly due to a shortage of musicians during wartimes  This music normally is in standard keys.

16. Igor Stravinsky  1882-1971; Russian  Music for Paris ballets commissioned by Diaghilev (Firebird, Petrushka, The Rite of Spring)  Good businessman  Moved to California

17. Expressionism  Very intense and based on subjective inner emotions  Used distortion (in visual art and in music) to shock audiences  Often involved elements of social protest— revealed the unpleasant truths of humanity  Note the painting in the book—Edvard Munch’s The Scream (page 482)

18. Serial (12-tone) Music  Music that uses all 12 notes of the chromatic scale equally—not in a particular key  This is unlike most music where certain notes are more important than others.  Tone Row  The row can be changed by inversion, retrograde, retrograde inversion (just like fugues).  Suite for Piano

19. Arnold Schoenberg  1874-1951  Almost entirely self-taught  Abandoned traditional tonal system

20. Alban Berg  Student of Schoenberg  Died of blood poisoning from a bee sting infection  Opera Wozzeck

21. Aleatoric Music  Also known as “chance music”  Involved random methods of picking notes, rhythms, and instruments for a composition; similar to rolling a die to determine the piece  Also could refer to music that gave performers the ability to decide on aspects of the piece (how many times to repeat a phrase, play whatever order of notes they wish during a part)  Could involve natural sounds; recall John Cage’s piece 4’33’’ where the pianist sits at the piano for that duration

22. Minimalism  Reaction against the complexity of 12-tone music and chance music  Very steady pulse/beat, clear tonal center  Incessant repetition of short patterns  Often hypnotic; in fact, an inspiration for this style was Indian culture (meditation, etc.)  Philip Glass--Islands

23. Latin American Composers  Villa-Lobos: Bachianas Brasilerias  Chavez: Mexico  Ginastera: Argentina

24. Béla Bartók  1881-1945; Hungarian  Collected/recorded folk music/peasant songs  During WWII, he came to America because of his immense dislike of the Nazis but unfortunately was poor and isolated here.  Health deteriorated; received an unexpected commission for his Concerto for Orchestra while hospitalized

25. American Composers  George Gershwin—Rhapsody in Blue  Aaron Copland  Charles Ives (1874-1954)  Studied young; composition major at Yale but experimentation not appreciated  Became successful insurance salesman to support family and composed on the side (until 2 or 3 in morning)  Incorporated folk hymns and patriotic songs into his works; polytonality (multiple keys at once)  Pulitzer Prize  John Corigliano—Pied Piper Fantasy