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Unit 10:Music with Logic, No Emotion (Chapter 52 (Anything Goes:…

- - - - Next step in music evolution- not revolutionary
      - Expressionism
        
        Break from tradition
        
        Dissonance does not have to resolve to consonance
        
        Reject tonality (atonality)
      - "Redefine" the new
    - - Psyche
        
        Edward Munch (Ex: The Scream painting)
      - Music
        
        Hyper-expressive harmonies
        
        Wide melodic leaps
        
        Instruments in their extreme ranges
        
        Discovered what was possible with major-minor system
    - - Active teacher in Vienna (where born)
        
        Students Berg and Webern
      - Rejection of tonality (becoming atonal)
      - "method of composing with twelve tones"- established him as a leader of contemporary musical thought
      - USC- Southern California (1933) due to WWII
      - UCLA later
      - Three compositional periods
        
        Post-Romantic, atonal-Expressionist, twelve-tone
      - Took lessons in counterpoint with a young composer, Alexander von Zemlinsky- how he was introduced to advanced musical circles of Vienna
    - - Song cycle on 21 poems by Giraud (used German translation)
        
        Bizarre and macabre
        
        Poems about Pierrot a poet/rascal/clown
        
        Taught composition under Hitler
        
        Each poem a rondeau, 15th century verse form in which the opening lines of the poem return as a refrain in the middle and at the end
      - Set for female vocalist and chamber ensemble
      - 1912
      - Sprechstimme (quasi-speechlike): a new vocal style in which the vocal melody is spoken rather than sung and disjunct line
      - Klangfarbenmelodie (tone color melody): 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's just a patch of moonlight)
        
        Fugues, canons in accompaniment
        
        Harshly dissonant
        
        Voices with five instruments: piccolo, clarinet, violin, cello, piano
        
        Very fast, sounds free-flowing
      - Avant-garde music that pushes boundaries
- - - - Various Cultures
      - Use of various sound sources
      - Innovative
        
        New scales & harmonies
      - Highly versatile instrumental or vocal effects
    - - Henry Cowell (1897-1965)
        
        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
        
        Combined Asian instruments with Western ensembles
        
        Music from Iran, India, Japan
        
        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
        
        Built/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
    - - 16 sonatas in 4 groups (of 4)- separated by interludes
      - For prepared piano (crowning achievement)
        
        Materials inserted between the piano strings
        
        Varied timbres
      - 1946-48 (Performed in 49)
      - Minimal sense of harmony; dissonant ending
      - Texture-linear movement
      - Binary structure (A-A-B-B)
      - Evokes ethereal, otherworldly sounds
    - - Born in LA
      - Early interest in non-Western scales
      - Henry 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
    - - Special affinity for the poetry of Lorca
      - Unusual vocal and instrumental effects
      - Retired from composition faculty of the University of Pennsylvania in 1999
      - Creates new sonorites
      - Turns ordinary instruments (including the voice) into the extraordinary
      - Avant-garde viruousity
      - Won Pulitzer Prize in 1968, for Echoes of Time and the River
    - - Last of three songs in Crumb's second book of madrigals
      - Poetry by Lorca
      - 1965
      - A-B-A' Form
      - Atonal
      - Scored for soprano, percussion, and flute/piccolo
        
        Extended techniques-
        
        Soprano whinny like a horse
        
        Glissandos
        
        Piccolo flutter-tongue
        
        quickly move the tongue as though "rolling an R" while blowing into the instrument
        
        Whispering
- - - - 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 loop
        
        Changing speeds causes music to go in and out of phase
      - Rejection of 12 tone music
      - Phase music later by live musicians
        
        Phase music- record a musical idea on a loop of magnetic tape and play several copies of that loop simultaneously, slowly changing the tape speeds in order to combine the loops in various ways
    - - Born in NYC, studied modernist composition at Julliard
      - Wanted to write tonal music, pioneered process music
      - Studied West African drumming and Balinese gamelan
      - Judaic heritage central to many works
        
        Grammy- Different Trains
    - - Last of a series of works he called "counterpoint"
      - Chamber work for guitar and tape
        
        Twelve guitars with pre-recorded tracks layered within
      - 1987
      - 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
      - Short melodic ideas repeated as an ostinato
      - 3/2 meter, 12 "pulse-units" also presented as 6/4 and 12/8; regular rhythms with varying patterns
      - Diatonic, mostly static with some subtle shifts
      - Polyphonic, with canons
      - Through-composed