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Unit 10 (Chapter 52 (Schoenberg and Musical Expressionism (Arnold…

- - - - "redefine" the new
      - next step in music evolution- not revolutionary
      - expressionism
        
        break from traditions
        
        dissonance does not have to resolve to consonance
        
        reject tonality (atonality)
    - - psyche
        
        Edward Munch
      - music
        
        hyper-expressive harmonies
        
        wide melodic leaps
        
        instruments in their extreme ranges
    - - active teacher in Vienna
        
        students Berg and Webern
      - rejection of tonality
      - "method of composing with twelve tones"
      - USC-Southern California (1933) due to WWII
      - UCLA later
      - three compositional periods
        
        Post-Romantic
        
        atonal-Expressionist
        
        twelve-tone
      - Schoenberg's Pierrot Lunaire (LG 43)
        
        1912
        
        song cycle on 21 poems by Giraud (used German translation)
        
        poems about Pierrot a poet/rascal/clown
        
        bizarre and macabre
        
        set for female vocalist and chamber ensembles
        
        Sprechstimme: a new vocal style in which the vocal melody is spoken rather than sung
        
        Klangfarbenmelodie: each note of a melody is played by a different instrument
        
        No. 18 from the cycle, The Moonfleck (LG 43)
        
        Pierrot disturbed by a white spot on his black jacket, rubs and rubs but cannot get rid of it (it is just a patch of moonlight)
        
        fugues, canons in accompainment
        
        disjunct line (Sprechstimme)
        
        very fast, sounds free-flowing
        
        harshly dissonant
- - - - innovative
        
        new scales & harmonies
      - various cultures
      - use of various sound sources
      - highly virtuosic instrumental or vocal effects
    - - Henry Crowell (1897-1965)
        
        combined Asian instruments with Western ensembles
        
        music from Iran, India, Japan
        
        foreign scales with Western chords
        
        pre-cursor to "prepared piano"
        
        tone clusters for piano
        
        group notes played fist, forearm, and palm
        
        plucking piano strings directly
      - Tiger- Tone cluster Ex.
      - The Banshee- Plucking/ strumming piano strings
      - Harry Partch (1901-1974)
      - proponent of microtones
        
        developed a scale with 43 microtones to the octave
      - build/adapted instruments to play it
        
        focus melody & timbre- not harmony
        
        adapted Indian and African instruments to fit tuning
        
        cloud chamber bowls- made glass
        
        cone gongs (made metal)
        
        gourd trees
    - - born in LA
      - early interest in non-Western scales
      - Cowell mentor
      - in 1938, invented the prepared piano
      - indeterminacy, aleatoric, and chance music'
      - explored the role of silence in 4'33"
      - raised profound questions about the nature of music
      - eternally questioning artist
      - Cage's Sonata & Interludes- Sonata V (LG 55)
        
        1946-48 (performed in 49)
        
        16 sonatas in 4 groups- separated by interludes
        
        for prepared piano
        
        materials inserted between the piano strings
        
        varied timbres
        
        minimal sense of harmony, dissonant ending
        
        binary structure (A-A-B-B)
        
        focus is on linear movement
    - - retired from composition faculty of the University of Pennsylvania in 1999
      - special affinity for the poetry of Lorca
        
        Lorca's poetry in his song cycle Ancient Voices of Children and in his four books of madrigals
      - unusual vocal and instrumental effects
      - creates new sonorities
      - turns ordinary instruments (including the voice)into the extraordinary
      - Caballito Negro (Little Black Horse) (LG 56)
        
        1965
        
        last of three songs in Crumb's second book of madrigals
        
        poetry by Lorca
        
        A-B-A' form
        
        atonal
        
        scored for soprano, percussion, and flute/piccolo
        
        extended techniques-
        
        piccolo flutter- tongue
        
        soprano whiny like a horse
        
        glissandos
        
        whispering
- - - - reject of 12 tone music
      - a new, also scientific way to approach stable harmonies was found in process music
        
        process music- a few notes repeating over and over and often elaborating
      - developed through technology into phase music
        
        record snippet of audio then laptop
        
        changing speeds causes music to go in and out of phase
      - phase music later by live musicians
    - - born in NYC, studied modernist composition at Juilliard
      - wanted to write tonal music, pioneered process music
      - studied West African drumming and Balinese gamelan
      - judaic heritage central to many works
        
        Grammy- Different Trains
      - Electric Counterpoint, III (LG 58)
        
        1987
        
        last of a series of works he called "counterpoint"
        
        chamber work for guitar and tape
        
        12 guitars w/ pre-recorded tracks layered within
        
        very different approach to harmony and complexity from goal-directed tonality
        
        the "hook" (short repeated musical idea) is less the initial musical idea, but how that idea is gradually combined with itself
        
        diatonic, mostly static with some subtle shifts
        
        highly polyphonic, with canons
        
        3/2 meter, 12 "pulse-units" also presented as 6/4 and 12/8
        
        through-composed