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Unit 10 (Chapter 52 (Arnold Schoenberg (1874-1951) (Active teacher in…

- - - - Break from tradition
        
        Dissonance does not have to resolve to consonance
        
        Reject tonality (atonality)
  - - - Edward Munch
    - - Hyper-expressive harmonies
      - Wide melodic leaps
      - Instruments in their extreme ranges
  - - - Students Berg and Webern
    - - Post-Romantic, atonal-Expressionist, twelve-tone
  - - - Poems about Pierrot a poet/rascal/clown
      - Bizarre and macabre
    - - Fugues, canons in accompaniment
      - 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)
- - - - Process Music- a few notes repeating over and over and often elaborating
    - - Record snippet of audio then loop
      - Changing speeds causes music to go in and out of phase
  - - - West African drumming and Balinese Gamelan
    - - Grammy- Different Trains
  - - - Twelve guitars w/ pre-recorded tracks layered within
- - - - Innovative
        
        New scales & harmonies
      - Various Cultures
      - Use of various sound sources
      - Highly virtuosic instrumental or vocal effects
    - - Henry Cowell (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 with fist, forearm, and palm
        
        Plucking piano strings directly
        
        Tiger- Tone cluster
      - Harry Partch (1901-1974)
        
        Proponent of microtones
        
        Developed a scale with 43 microtones to the octave
        
        Built/adapted instruments to play it
        
        Focus melody & timbre
        
        Adopted Indian and African instruments
      - John Cage (1912-1992)
        
        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
      - George Crumb (1929)
        
        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 glissandos
    - - 1946-1948 (Performed in 1949)
      - 16 Sonatas in 4 groups- separated by interludes
      - For prepared piano
        
        Materials inserted between the piano strings
        
        Varied timbres
    - - 1965
      - Last of three songs in Crumb 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 whinny like a horse
        
        Glissandos
        
        Whispering
- - - - Poetic
      - Female Soloist
      - 5 instruments
        
        violin/viola, cello, flute/piccolo, clarinet/bass clarinet, piano
        
        Contrasting Timbres
    - - approximate pitches
- - - - A-A-B-B
      - Binary with repeated sections
    - - Altered Paino
      - nails, bolts, screws, wood, leather
    - - Conjunct
      - Simple
    - - Theme A
        
        Smooth
        
        Regular
      - Theme B
        
        Pauses
- - - - Through-composed
      - Shifts ideas/themes
    - - Polyphonic
    - - Shifts throughout
        
        Static
        
        Diatonic
    - - Varying accents
      - Varying patterns
    - - Third movement
      - Short, melodic ideas