Twentieth Century

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 BélaBartók 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 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

5. Musical Characteristics **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.

6. 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])

7. 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.

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

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 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

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