TWENTIETH CENTURY

Western Art Music after 1900

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

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)

Musical Society

Concerts in the 20th 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

**There is no set way 20th 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

Tone Color/Orchestration

The choice of instruments was of utmost importance to 20th 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])

Melodies

Melodies in 20th 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.

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).

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.

--Impressionism--Neoclassicism--Expressionism--Aleatory Music--Serialism--Minimalism

Style Movements of the Age

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

Claude Debussy

1862-1918; French Composer who most linked the Romantic

period to the 20th 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

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

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

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.

Igor Stravinsky

1882-1971; Russian Music for Paris ballets commissioned by

Diaghilev (Firebird, Petrushka, The Rite of Spring)

Good businessman Moved to California

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)

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

Arnold Schoenberg

1874-1951 Almost entirely self-taught Abandoned traditional tonal system

Alban Berg

Student of Schoenberg Died of blood poisoning from a bee sting

infection Opera Wozzeck

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

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

Latin American Composers

Villa-Lobos: Bachianas Brasilerias Chavez: Mexico Ginastera: Argentina

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

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