Please enable JavaScript.

Coggle requires JavaScript to display documents.

Unit Ten (Chapter 52 (Anything Goes: Schoenberg and Musical Expressionism,…

- - - - dissonance became the norm in may 20th century works
        
        could even serve as final cadence
        
        usually consonance rules
    - - Arnold Schoenberg (1874-1951)
        
        developed the twelve tone method
        
        pioneered moving from one form of dissonance to another
        
        born in Vienna
        
        took lessons with young composer
        
        Alexander von Zemlinsky
        
        introduced to the advanced musical circles
        
        which were under the spell of Wagner Operas
        
        became active as a teacher
        
        Alban Berg
        
        Anton Webern
        
        taught composition in Berlin
        
        and then Hitler in 1933
        
        moved to LA
        
        appointed professor of composition at University of California LA
        
        American citizen in 1940
        
        taught until retirement at age 70
        
        1 more item...
        
        served in WWI
        
        composition silence of 8 years after WWI
        
        in which he developed the twelve tone system
        
        work
        
        early work
        
        exemplify post-Wagnerian Romanticism
        
        still used key signatures
        
        remained within the boundries of tonality
        
        second period
        
        the atonal-Expressionist
        
        abolished distinction between consonance and dissonance
        
        did away with the home key
        
        third period
        
        used the twelve tone method
        
        last (American) phase
        
        carried the twelve-tone technique to further stages of refinement
      - expressionists
        
        German counterpart to French immpressionistst
        
        dug down to the depths of the psyche
        
        impulse
        
        came from paintings
        
        artists
        
        Edvard Munch
        
        The Scream
        
        favor
        
        hyper-expressive harmonies
        
        extraordinarily wide leaps
        
        use of instruments in the extreme registers
        
        soon reached the limits of the major minor system
        
        atonality
        
        music that rejects the framework of key
  - - - 1912
      - song cycle
        
        21 songs, 7 each in three parts
        
        Part III
        
        program
        
        "He climbs from the depths of depression to a more playful mood, but with fleeting thoughts of guilt; then he becomes sober."
        
        18
        
        The Moonfleck
        
        (Der Mondfleck)
        
        melody
        
        disjunct line, quasi-speechlike
        
        1 more item...
        
        rhythm/meter
        
        very fast
        
        sounds free-flowing
        
        harmmony
        
        harshly dissonant
        
        texture
        
        complex counterpoint with canonic (strict imitative) treatment
        
        form
        
        rondeau text with poetic/musical refrain
        
        timbre
        
        pointillistic, flickering instrumental effects
        
        performing forces
        
        voice with five instruments
        
        5 more items...
        
        Part II
        
        program
        
        He becomes ridden with guilt and wants to make atonement
        
        Part I
        
        program
        
        Pierrot, a sad clown figure, is obsessed with the moon, having drunk moonwine; his loves, fantasies and frenzies are exposed
        
        no song uses the same set of instruments
      - text
        
        21 poems from *Pierrot lunaire
        
        by Albert Giraud
        
        Belgian writer
        
        a disciple of the French Symbolists
        
        post-rascal-clown
        
        connected with the long tradition of improvised theater
        
        liberally spiced with elements of macabre
        
        abrupt changes from laughter to tears
        
        all in rondeau
        
        fifteenth century verse form in which the opening lines of the poem return as a refrain in the middle and at the end
      - experimented with Klangfarbenmelodie
        
        tone color melody
        
        where each note of a melody is played by a different instrument
        
        creating a shifting effect that evokes the moonbeams mentioned in the text
      - uses Sprechstimme
        
        speechlike melody
        
        style in which the vocal melody is spoken rather than sung
- - - - two earlier composers influenced the pioneering genious of John Cage
        
        Henry Cowell (1897-1965)
        
        drawn towards a variety of non-Western musics
        
        studied music from
        
        Japan
        
        India
        
        Iran
        
        led to him to combine Asian instruments with traditional western enesembles
        
        experimented with foreign scales
        
        which he harmonized with western chords
        
        several of his innovations involved the piano
        
        tone clusters
        
        groups of adjacent notes played with the fist, palm, or forearm and the plucking of the piano strings directly with fingers
        
        inspired John Cage's "prepared piano"
        
        Harry Partch (1901-1974)
        
        the most serious proponent of microtonal technique
        
        developed a scale of 43 microtones to the octave in the 1920s
        
        adapted Indian and African instruments to fit microtone tuning
        
        original instruments
        
        cloud-chamber bowls
        
        made of glass
        
        cone gongs
        
        made of metal
        
        gourd trees
        
        make melody and timbre instead of harmony the focus of his music
        
        John Cage (1912-1992)
        
        works explored new sounds and concepts that challenged the very notion of what makes up music
        
        most important contributions
        
        chance/aleatoric music
        
        Born in LA
        
        exhibited early interest in non-western scales
        
        learned from his mentor
        
        Henry Cowell
        
        realized the traditional division between consonance and dissonance had given way to a new opposition between music and noise
        
        invented the "prepared piano"
        
        1938
        
        various foreign substances were inserted at crucial points in the strings of the grand piano
        
        created a myriad of sounds whose overall effects resembled a Javanese gamelan
        
        maintained an intense interest in exploring the role of silence
        
        led to a "composition" entitled 4'33''
        
        literally 4 minutes and 33 seconds of silence
        
        first "performed" by David Tudor
        
        pianist
        
        Came on stage, placed a score on the piano rack, sat quietly for 4 minutes and 33 seconds, closed the piano and left.
    - - call for a new breed of instrumentalists and vocalists
      - a new arsenal of unusual techniques
        
        to cope with the music's performance demands
      - George Crumb (b. 1929)
        
        studied at Mason College of Fine Arts in Charleston, West Virginia
        
        earned graduate degrees at the University of Illinois and University of Michigan
        
        taught composition in Colorado and New York
        
        then appointed to the University of Pennsylvania
        
        remained until he retired in 1999
        
        shown a special affinity for the poetry of Federico García Lorca
  - - - Date 1946-48
        
        first performed 1949
      - overall
        
        16 sonatas, in four groups of 4, each group separated by an interlude
      - melody
        
        irregular phrases, small-range, undulating chromatic line
        
        second section is more disjunt
      - rhythm/meter
        
        opening with regular movement, then changing rhythmic flow, seemingly without a clear meter.
      - harmony
        
        minimal sense of harmony
        
        dissonant ending
      - texture
        
        the focus is on linear movement
      - form
        
        binary structure
        
        A-A-B-B
      - expression
        
        evokes ethereal, otherworldly sounds
      - timbre
        
        piano produces percussion effects, both pitched and nonpitched
        
        varied tone quality and pitches
- - - - 1940s and 50s saw the rise of the twelve-tone approach
        
        anything else was unscientific and backwards looking
        
        some became dissatisfied with the serial music;s implicit lack of harmonic center and decided to develop an approach that would treat stable harmonies in an entirely new way
        
        process music
        
        a composer chooses a very simple and harmonically clear music idea
        
        one or two chords
        
        a few notes forming a consonant snippet
        
        repeats it over and over again
        
        gradually changing or elaborating it
        
        pioneered by
        
        Terry Riley (b. 1935)
        
        LaMonte Young (b. 1935)
        
        Steve Reich (b. 1936)
        
        born in New York City
        
        was most influenced by hearing Stravinsky's Rite of Spring and Bach
        
        played the drums in several bands in his college years
        
        studied modernist composition at the Julliard School (New York) and Mills College (California)
        
        created process music with Terry Riley and Philip Glass
        
        worked as a taxi driver and furniture mover until he was able to live off commissions
        
        influenced from
        
        3 more items...
        
        Philip Glass
        
        used technology to develop
        
        would play a loop of a musical idea over itself changing the tape speeds in order to combine the loops in various ways
        
        phase music
  - - - 1987
      - chamber work for guitar and tape
      - melody
        
        short melodic ideas repeated as an ostinato
      - rhythm/meter
        
        3/2 meter, 12 "pulse-units" also presented as 6/4 and 12/8
        
        regular rhythms with varying patterns and accents in syncopation
      - harmony
        
        diatonic, mostly static with some subtle shifts
        
        predominant chords are C major, B minor, E minor
      - texture
        
        highly polyphonic, with canons
      - form
        
        through-composed
      - expression
        
        an almost trance-like effect from the gradual addition and combination of regular patterns
        
        striking moments created by subtle changes
      - performing forces
        
        live guitarist playing with 12 prerecorded tracks (2 bass guitars and 10 guitars)