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Twentieth Century Chapters 1, 2, 3, 4, 5

Twentieth Century Chapters 1, 2, 3, 4, 5. 20thC Schedule 20thC Overview Impressionism, Symbolism, Debussy Neoclassicism. 20 th C & American Musical Theater Classes. Wed, Thurs Apr 9, 10 Part 6, Ch 1, 2, 3, 4, 5 Mon, Tues Apr 14, 15 Exam 3

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Twentieth Century Chapters 1, 2, 3, 4, 5

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  1. Twentieth CenturyChapters 1, 2, 3, 4, 5 20thC Schedule 20thC Overview Impressionism, Symbolism, Debussy Neoclassicism

  2. 20th C & American Musical Theater Classes Wed, Thurs Apr 9, 10Part 6, Ch 1, 2, 3, 4, 5 Mon, Tues Apr 14, 15Exam 3 Wed, Thurs Apr 16, 17Exam 3 post analysis, Ch6, 7, 8 Mon, Tues Apr 21, 22Ch 11, 14, 15, 16 Wed, Thurs Apr 23, 24 Ch 17, 18 Mon, Tues Apr 28, 29 Ch 17, 18 Wed, Thurs Apr 30, May 1Ch20 Final Exam Schedule:

  3. 20th Century Overview • 19th 20th Century links • Wagner = philosophical and aesthetic • Debussy = musical • Large-Scale influences 20C music • Late 19thC: Freedom >IMP than order • key & tonality= gone!Th/f No longer foster UNITY & CONTRAST or STRUCTURE • Influence of non-traditional, non-European music • Forward motion in music not as IMP • Radio, TV, movies, recordings

  4. Impressionism Symbolist Poetry In Music Painting has connections with and • 19th-20th C • Dreamlike mood, • atmosphere • Tone color= IMP; pref. softer, darker tone colors • Fluid mvt through piece; avoids sections • late 19th C • Vague images Details NOT IMP • Colors: muted, pastel, flow together • Light & shadows =VIMP • Water = IMP • Mid-late 19th C • Vagueness-- reader infers, brings own ideas to a work. Mallarmé--Just hint…(pp 304-5) • Word sounds, fluidity = IMP Understand the aesthetic connections & similarities.

  5. Claude Debussy • Musical link 19th  20th centuries • “Tonality must be drowned” • Influenced by: • Wagner--harmony, dissonance, continuity • non-Western music (esp. Asian) • Music—continuity (smooth flow of ideas) • minimize metrical accents & strong cadences • avoid sectionalized forms, esp. sonata form • Tone color VIMP

  6. Log Debussy Prelude to the Afternoon of a Faun Tone poem I= • Impressionism • Tonal • ABA’ BUT • minimal contrast • sections not clearly defined • mood = quiet, dreamlike • dark tone colors, e.g., horn, low flute, antique cymbals, harp • dynamics = mostly quiet, gradual changes • tempo = moderate, gradual changes Connect Kamien

  7. Prelude to The Afternoon of a Faun A B A’ 1 2 34 5 a b c a b a b a ba b c d Minimalcontrast K A M I E n Tonecolor Tonecolor Tonecolor Tonecolor New melody,minimal contrast Water? Connect Kamien Entire piece

  8. to late Romanticism’s Neoclassicists preferred: Neoclassicisma 20th C reaction gigantism shorter pieces, smaller ensembles hyper-emotionalism a more “objective” mood formal clarity, simplicity, balance loosely structured forms program music absolute music Earlier composers IMP, esp. Bach Neoclassicists: Stravinsky, composer T.S. Eliot, writer Picasso, painter

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