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29 Cards in this Set
- Front
- Back
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Neoclassical Composers
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Lizsts, Tchakovsky (early traces), Prokofiev (Symphony No. 1 cited as precursor) Stravinsky, Milhaud, Hindemith, Copland (American), Schoenberg (shows influence of NCSM)
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Neoclassicism
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Return to Classical/Baroque/Romantic form.
-usually in style, genre, or form -emphasis on rhythm and on contrapuntal texture |
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Special info on Neoclassic composers
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Stravinsky: jagged and uncouth rhythmic effects, bold use of dissonance, dry, crackling sonority
Prokofiev: fresh, clean-cut, articulate style Copland: Jazzy |
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Formalism & Social Realism
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Formalism: formalism is the concept that a composition's meaning is entirely determined by its form
Social Realism: Socialist movement/propoganda-ish in Soviet Union |
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Formalists
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Shostakovich is an early one. Prokofiev.
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Total Serialism
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1950’s avant-grade: total serialism
Schoenberg’s tone rows transformed into musical parameters other than pitch -if the twelve tones could be ‘serialized’ so could other things. However typically these items were not 100% legit |
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Total Serialists
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-Boulez: made a new way of deriving related rows from basic rows: more flexibility
-very weird sound all in middle and high registers Stockhausen: pitch row is rotated from end to middle each note of the chromatic scale is linked to a certain duration and dynamic level- which corrleates the pitch rows and the duration/dynamic rows Milton Babbit is one of these dudes -goal by Babbit to make music “literally as much as possible”: very intricate and involved |
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Electronic Music
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Electronic music- created by oscillators, not by tape recorders, which is instruments that make the sound electronically- could only produce one note at a time. Schtockahusen used both at the same time.
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Musique concrete
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: to work with recorded sounds, manipulating the chosen sounds through mechanical/electronic means- worked with the sound instead of musical notation (Schaffer/Henry)
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Chance music
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Chance music: way to determine certain aspects of the music without imposing the composer’s intentions.
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Indeterminacy
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composer leaves certain aspects of the work unspecified
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aleatoricism
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some part of the music is left to chance
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Electronic Composers
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Schaffer/Henry: musique concrete
Stockhausen- used oscillators and tape recorders- electronic music Babbitt Cage/Feldman: CAGE: Sonatas and interludes made by putting stuff on and between keys (prepared piano). He and Feldman wanted to experience sounds as themselves, not as vehicles for the composer’s intentions |
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Transformations of Tonality
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Britten & Messein
Britten and “Peter Grimes”: Music layered to make Grimes a 3D character. Seems traditional at he core with arias, duets, and choruses- then erupts into 20th century dissonances- psychological precision Messien: music as a stance of estatic contemplation. Instead of developing themes, he juxtaposes static ideas. Gets em from Debussy and Stravinsky -modes of limited transposition: collections of notes,that do not change when transposed to certain intervals- same set of notes in different inversions. |
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New Sounds & Techniques
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Crumb: Uses ordinary things. Prayer stones, temple bells, electri piano. Chisel must be applied to the piano and thread paper to the harp. Uses weird bowing.
>>to evoke extramusical associations Berrio: took Mahler’s work and just reworked it and stuff |
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Minimalism & Postminimalism
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Minimalism: when materials are reduced to a minimum and procedures simplified so that what is going on in the music is apparent.
-challenged traditional concepts in an “avant-garde” spirit Postminiamlist: takes minimalist ideas and adds traditional things. |
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Minimalist Composers
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Minimalist: Reich
Reich: Developed a procedure in the electronic studio. Musicians play the same material out of phase with each other. Canon thing we did in class.- Piano Phase Postminimalist: Adams John Adams- traced a path from minimalist to post-minimalist style. In the Face Machine thing, harmonic progression moves **** forward- and wide-ranging melodies emerge to dominate the texture. Rapidly pulsing harmonies emerge. Short, riving, pulsating ideas, insistently repeated, and constantly evolve. |
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Second Vieneese School
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Schoenberg, Webern, Berg
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Schoenberg
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Extended tonality, atonal, expessionist,
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Webern
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very short, sparse pieces
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Berg
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Blends serial/atonal elements with late Romantic
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Atonality
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musical coherence/integrity in the absence of tonic motion as driving force. variation, text, rhythm.
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Serialism
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12-tone. P, R, I, RI- schoenberg
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Bartok
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Hungarian identity, influenced by folk songs of rural Hungary, nationalist. Irregular meter used.. A little bit modernist.
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American experimentalists
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Ives, Cowell, Verese
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Ives
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Bartok influence. Cumulative form.
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Cowell
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Strongly influenced by non-Western stuff. Father figure of American experimentalists
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Varese
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Honorary american. Small output but huge influence. "Sound mass" kinda music
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Jazz
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Instrumentation and improvisation- most important. Lesser focus on composition.
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