1. 1. CHAPTER 21Alternatives to Modernism
2. 2. ALTERNATIVES TO MODERNISM Look back in your notes, what was the alternative to modernism in at the beginning of Unit V? Hint: Modernism and _____________ Hint (last): Some of you created some propaganda for this What do you expect it to sound like?
3. 3. TRADITIONALIST OR MODERNIST? 1 .) 2.) 3.) 4.)
4. 4. MODERNISM: A HIT? If someone was going to perform Schoenbergs Pierrot Lunaire at St. Wenceslas Friday night, would you (raise of hands): Go to see if for $100 a ticket? $20 a ticket? $5 a ticket? Free?! much modernist music played to a small, esoteric audience (Kerman, 349). Esoteric-intended for or likely to be understood by only a small number of people with a specialized knowledge or interest. Can you blame them?
5. 5. TWENTIETH-CENTURY TRADITIONALISM Read Pg. 249 Paragraph 1 But other impressive composers, both here and abroad, developed a more ambivalent attitude toward modernism... Some famous twentieth-century names never joined the Avant-Garde [remember what that means??!!] at all, and kept on mining the reliable quarries of Romanticism for their own private seams of (they hoped) musical gold (Kerman, 349). Ambivalent-having mixed feelings or contradictory ideas about something or someone. Read paragraph 2. Does that make sense?
6. 6. TWENTIETH-CENTURY TRADITIONALISM (CONT.) there is no question that some of the best -and most popular-music of the early twentieth century was written by composers who never called themselves modernists (Kerman, 349) Important idea: There is more to twentieth century music than Shoenberg!